Goodbye Solo - Movie Poster - 27 x 40 Inch (69 x 102 cm)
- You are looking at a great poster.
- This poster measures approx. 27 x 40.
- Rolled and shipped in a sturdy tube.
- This poster is from Goodbye Solo (2008)
The Cyalume SnapLight is a green industrial grade chemical light stick measuring 6" long, for providing instant 360 degree illumination, that can be seen up to a mile away for up to 12 hours in optimal conditions. The SnapLight is waterproof, non-toxic, and non-flammable. To activate the light stick, bend, snap and shake the tube. The light stick has a hook and gate top, for hanging or attaching the light. Each light stick is individually foil-wrapped for protection from light a! nd moisture, and has up to a five-year shelf life from date of manufacture.
The durable, waterproof, external body of the light stick is made from low density polyethylene (LDPE), and is phthalate free for safety. The internal illuminating chemical substance is non-toxic and non-flammable, and the components of the light stick are recyclable. The light stick floats in water and works best between 40 to 80 degrees F (4 to 27 degrees C), and although the light stick works at higher or lower temperatures, it is less effective in colder temperatures.
All sticks are tested at a temperature of 72 degrees F (22 degrees C) to determine the illumination duration. Each 10-degree C (50-degree F) increase or decrease in temperature doubles or halves the reaction rate, and therefore the brightness and duration. For example, the same light stick that emits approximately 30 lux (a unit that describes how much light is visible over a square meter) at 15 minutes after acti! vation at 24 degrees C (75 degrees F) will be half as bright b! ut glow twice as long at 14 degrees C (57 degrees F). At 34 degrees C (93 degrees F), the same light stick would be twice as bright, but glow half as long. Storage at elevated temperatures (above 120 degrees F or 49 degrees C) will decrease shelf life and start to soften the plastic tube, and increase the risk of a leak. Exposure to cold temperatures will not affect the light sticks if they are warmed above 40 degrees F (4.5 degrees C) before activation, unless they are frozen (which occurs at -15 to -20 degrees F, or -26 to -29 degrees C). Once light sticks have been frozen, they will still produce some light, but performance will not be as reliable. Humidity and atmospheric conditions do not affect the light sticks.
Light sticks are chemiluminescent substances in plastic tubes that provide hours of illumination in a number of safety, industrial, and military applications. Light sticks are waterproof, non-flammable, and non-sparking, which makes them useful in hazardous si! tuations where sparks or flame could cause an explosion. Duration is determined by the chemistry of the formulation. Brightness is affected by temperature: the warmer the temperature, the brighter the light will appear. Viewing distance can be affected by temperature, moisture, and other elements. Exposure to direct sunlight can reduce shelf life and effectiveness.
Cyalume Technologies manufactures chemiluminescent products used for safety, industrial, and military applications. The company, founded in 1970 and headquartered in West Springfield, MA, makes products under ChemLight and SnapLight brands. ChemLight products meet military specifications, and the company meets ISO 9001 standards.
Whatâs in the Box?
Although fairies are the visible subjects, the enchanting video is really about faith. Frances's parents (Phoebe Nicholls and Paul McGann) recently lost their son, Joseph, who had originally discovered the fairies and would like to think he may be an angel. Sir Arthur also lost his son and is courted by clairvoyants who claim they can talk to the boy. Elsie waits patiently for her father to come home, although it appears hopeless that he will. Harry Houdini is an illusionist but acts against the fraudulent claims of greedy mediums a! nd the like. They are all touched by a need to truly believe i! n what r emains hidden. The story is very loosely based on an early 20th-century controversy involving the real Frances and Elsie who faked pictures of fairies similar to the ones in the video. The real girls never confessed, but the video suggests the manner in which the real life photos may have been produced. --Margaret Griffis When her father is declared missing in action during World War I, Elsie Wrigth (Florence Hoath) goes to live in England with her cousin Frances Griffiths (Elizabeth Earl) for whom the topic of fairies is forbidden. Immediately, the girls discover the winged creatures in the garden and photograph them for Frances's startled parents. This leads to another kind of adventure for the girls. They become the toasts of London as Sir Arthur Conan Doyle (Peter O'Toole) and Harry Houdini (Harvey Keitel), who have seen the photographs, escort them around town. Mildly villainous reporters chase the girls and curious spectators invade their garden after the pictur! es are printed publicly.
Although fairies are the visible subjects, the enchanting video is really about faith. Frances's parents (Phoebe Nicholls and Paul McGann) recently lost their son, Joseph, who had originally discovered the fairies and would like to think he may be an angel. Sir Arthur also lost his son and is courted by clairvoyants who claim they can talk to the boy. Elsie waits patiently for her father to come home, although it appears hopeless that he will. Harry Houdini is an illusionist but acts against the fraudulent claims of greedy mediums and the like. They are all touched by a need to truly believe in what remains hidden. The story is very loosely based on an early 20th-century controversy involving the real Frances and Elsie who faked pictures of fairies similar to the ones in the video. The real girls never confessed, but the video suggests the manner in which the real life photos may have been produced. --Margaret Griffis When her father is ! declared missing in action during World War I, Elsie Wrigth (F! lorence Hoath) goes to live in England with her cousin Frances Griffiths (Elizabeth Earl) for whom the topic of fairies is forbidden. Immediately, the girls discover the winged creatures in the garden and photograph them for Frances's startled parents. This leads to another kind of adventure for the girls. They become the toasts of London as Sir Arthur Conan Doyle (Peter O'Toole) and Harry Houdini (Harvey Keitel), who have seen the photographs, escort them around town. Mildly villainous reporters chase the girls and curious spectators invade their garden after the pictures are printed publicly.
Although fairies are the visible subjects, the enchanting video is really about faith. Frances's parents (Phoebe Nicholls and Paul McGann) recently lost their son, Joseph, who had originally discovered the fairies and would like to think he may be an angel. Sir Arthur also lost his son and is courted by clairvoyants who claim they can talk to the boy. Elsie waits patiently for her father! to come home, although it appears hopeless that he will. Harry Houdini is an illusionist but acts against the fraudulent claims of greedy mediums and the like. They are all touched by a need to truly believe in what remains hidden. The story is very loosely based on an early 20th-century controversy involving the real Frances and Elsie who faked pictures of fairies similar to the ones in the video. The real girls never confessed, but the video suggests the manner in which the real life photos may have been produced. --Margaret Griffis Studio: Buena Vista Home Video Release Date: 09/08/2009 Run time: 56 minutes Rating: G
A man and a woman tread the lines of danger, desire, and deliverance in the new novel of the Fallen Angels from the #1 New York Times bestselling author of the Black Dagger Brotherhood series.
As the son of a serial killer, homicide detective Thomas "Veck" DelVecchio, Jr., grew up in the shadow of evil. Now, on the knife-edge between civic duty and blind retribution, he atones for the sins of his father- while fighting his inner demons. Assigned to monitor Veck is Internal Affairs officer Sophia Reilly, whose interest in him is both professional and arousingly personal. And Veck and Sophia have another link: Jim Heron, a mysterious stranger with too many answers... to questions! that are deadly. When Veck and Sophia are drawn into the ultimate battle between good and evil, their fallen angel savior is the only thing that stands between them and eternal damnation.
Maris Matherly-Reed is more than an editor. She's also the beloved daughter of the publishing house's highly respected and successful leader, and the wife of Matherly Press's second-in-command, the smooth, suave, double-dealing Noah Reed. Reed, it develops, is the real target of the literary scam set up by the reclusive writer of the novel whose opening pages so captivat! e Reed's spouse. P.M.E., the writer, has a score to settle w! ith Mari s's husband, and he doesn't care whom he hurts as long as he brings Noah down. At least, not until he meets Maris, who has an unfortunate habit of falling in love with her authors (see above; that's the second clue). Brown is a master at romantic suspense, and Envy displays the talents that have won her a devoted following: a deft hand at evoking the vulnerability and humanity of her protagonists, a sure command of narrative tension, and a nice sense of place. This is a terrific hammock read, just right for a summer day as sultry and humid as Envy's Low Country setting. --Jane Adams
Officers DelVecchio and Reilly are aided in their hunt for a serial killer by a mysterious stranger enlisted to save the soul of the killer's latest victim, which is hovering between heaven and hell. The battle lines between good and evil are drawn-and the price may be nothing less than total damnation.
Officers DelVecchio and Reilly are aided! in their hunt for a serial killer by a mysterious stranger enlisted to save the soul of the killer's latest victim, which is hovering between heaven and hell. The battle lines between good and evil are drawn-and the price may be nothing less than total damnation.
Jealous whispers. Old rivalries. New betrayals.
Two months after Elizabeth Holland's dramatic homecoming, Manhattan eagerly awaits her return to the pinnacle of society. However, when she refuses to rejoin her sister Diana's side, those watching New York's favorite family begin to whisper that all is not as it seems behind the stately doors of No. 17 Gramercy Park.
In this thrilling installment of Anna Godbersen's bestselling Luxe series, Manhattan's most envied residents appear to have everything they desire: Wealth. Beauty. Happiness. But sometimes the most practiced smiles hide the most scandalous secrets. . . .
While technically Flushed Away could be considered part of the wave of celebrity-voiced, anthropomorphic-animal movies that hit in 2005-2006 (Madagascar, Over the Hedge, The Wild, etc.), it doesn't inspire the same sense of déjà vu. For one thing, its voice actors are less recognizable than the likes of Bruce Willis and Chris Rock. For another, its look is v! ery distinctive. Like Nick Park's Chicken Run and Wa! llace an d Gromit: The Curse of the Were-Rabbit, it's a joint production of DreamWorks Animation and Aardman Features, and although Park isn't involved, it retains his trademark blocky look of clay animation. But animating the movie by computer rather than by hand allows for some eye-popping tableaux, such as floodwaters rushing through the sewers and an entire town of little animated characters. It's a crazy thrill ride loaded with inside jokes and enough crude humor to earn a PG rating, and the band of singing slugs is also a hoot. --David Horiuchi
On the DVD
It's no surprise that the singing slugs are the stars of the DVD's bonus features. They're featured in two music videos (less than a minute total), and in a 13-minute segment an Aardman animator builds a slug out of plasticine. (In contrast, the lesson on drawing Roddy is a mere two minutes.) A song jukebox jumps to 10 musical points in the film, though the non-slug background music isn't really wor! th the jump. On the human side, there are eight-minute featurettes on the music and the voices, a set-top game that is easier to control than most such featurettes (and easier to beat too), and a commentary track by directors David Bowers and Sam Fell in which they have a grand old time remembering their inside jokes and showering love on the Spike and Whitey characters. The DVD-ROM has access to 21 more online games. --David Horiuchi
While technically Flushed Away could be considered part of the wave of celebrity-voiced, anthropomorphic-animal movies that hit in 2005-2006 (Madagascar, Over the Hedge, The Wild, etc.), it doesn't inspire the same sense of déjà vu. For one thing, its voice actors are less recognizable than the likes of Bruce Willis and Chris Rock. For another, its look is very distinctive. Like Nick Park's Chicken Run and Wallace and Gromit: The Curse of the Were-Rabbit, it's a joint production of DreamWorks Animation and Aardman Features, and although Park isn't involved, it retains his trademark blocky look of clay animation. But animating the movie by computer rather than by hand allows for some eye-popping tableaux, such as floodwaters rushing through the sewers and an entire town of little animated characters. It's a crazy thrill ride l! oaded with inside jokes and enough crude humor to earn a PG ra! ting, an d the band of singing slugs is also a hoot. --David Horiuchi
On the DVD
It's no surprise that the singing slugs are the stars of the DVD's bonus features. They're featured in two music videos (less than a minute total), and in a 13-minute segment an Aardman animator builds a slug out of plasticine. (In contrast, the lesson on drawing Roddy is a mere two minutes.) A song jukebox jumps to 10 musical points in the film, though the non-slug background music isn't really worth the jump. On the human side, there are eight-minute featurettes on the music and the voices, a set-top game that is easier to control than most such featurettes (and easier to beat too), and a commentary track by directors David Bowers and Sam Fell in which they have a grand old time remembering their inside jokes and showering love on the Spike and Whitey characters. The DVD-ROM has access to 21 more online games. --David Horiuchi
While technically Flushed! Away could be considered part of the wave of celebrity-voiced, anthropomorphic-animal movies that hit in 2005-2006 (Madagascar, Over the Hedge, The Wild, etc.), it doesn't inspire the same sense of déjà vu. For one thing, its voice actors are less recognizable than the likes of Bruce Willis and Chris Rock. For another, its look is very distinctive. Like Nick Park's Chicken Run and Wallace and Gromit: The Curse of the Were-Rabbit, it's a joint production of DreamWorks Animation and Aardman Features, and although Park isn't involved, it retains his trademark blocky look of clay animation. But animating the movie by computer rather than by hand allows for some eye-popping tableaux, such as floodwaters rushing through the sewers and an entire town of little animated characters. It's a crazy thrill ride loaded with inside jokes and enough crude humor to earn a PG rating, and the band of singing slugs is also a hoot. --David Horiuchi
On the DVD
It's no surprise that the singing slugs are the stars of the DVD's bonus features. They're featured in two music videos (less than a minute total), and in a 13-minute segment an Aardman animator builds a slug out of plasticine. (In contrast, the lesson on drawing Roddy is a mere two minutes.) A song jukebox jumps to 10 musical points in the film, though the non-slug background music isn't really worth the jump. On the human side, there are eight-minute featurettes on the music and the voices, a set-top game that is easier to control than most such featurettes (and easier to beat too), and a commentary track by directors David Bowers and Sam Fell in which they have a grand old time remembering their inside jokes and showering love on the Spike and Whitey characters. The DVD-ROM has access to 21 more online games. --David Horiuchi
The book does not romanticize or soften the effects of violence and sickness. One fourth of the child-bearing women in the neighborhoods where these children live test positive for HIV. Pediatric AIDs, life-consuming fires and gang rivalries take a high toll. Several children die during the year in which this narrative takes place.
A gently written work, Amazing Grace asks questions that are at once political and theological. What is the value of a child's life? What exactly do we plan to do with those whom we a! ppear to have defined as economically and humanly superfluous? How cold -- how cruel, how tough -- do we dare be?