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Tom Dobbs, comedic host of a political talk show - a la Bill Maher and Jon Stewart - runs for President of the US as an independent candidate who, after an issues-oriented campaign and an explosive performance in the final debate, gets just enough votes to win. Trouble is he owes his victory to a computer glitch in the national touch-screen voting system marketed by Delacroy, a private company with a rising stock price. To protect their fortune, Delacroy executives want to keep the glitch a secret, but one programmer, Eleanor Green, wants Dobbs to know the truth. Can she get to him?

imdb rating : 6.2/10

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imdb rating : 5.8/10

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imdb rating : 6.4/10

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In the heart of the beautiful and historically rich Dordogne Valley of France, a team of archeology students and their professor diligently work to uncover the ruins of a 14th-century castle. For Professor Edward Johnston, the project is the culmination of a lifelong dream. Aided by assistant professor Andre Marek, his son Chris and students Kate, Stern and François, Johnston has made major strides in unearthing not only La Roque Castle but also a monastery and structures from the surrounding village of Castlegard. But things are about to go haywire... Suspicious of the dig's benefactor, International Technology Corporation (ITC) and the man who runs it, Robert Doniger, Professor Johnston heads to ITC headquarters in New Mexico to get some answers, and while he's away, his students discover a chamber that has been sealed for more than 600 years. Marek and Kate descend into the unstable room, and just before a near disastrous cave-in, they make two startling discoveries -- a bifocal lens, which couldn't have been invented before the chamber was sealed, and even more intriguing, a handwritten plea for help dated April 2, 1357...from Professor Johnston! Determined to solve the mystery, the students head for ITC headquarters, where they are stunned to learn of Doniger's new invention -- a machine that can actually transmit three-dimensional objects through space. Although he meant for the device to revolutionize shipping, Doniger inadvertently opened a wormhole that leads directly to the 14th century, and Professor Johnston, who had insisted on experiencing the discovery himself, is now trapped in a vicious French vs. English feudal war! Can Johnston's loyal students survive one of the most violent battles in world history... and make it back to the 21st century alive?

imdb rating : 6.2/10

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A good story....

One day, the father of a very wealthy family took his son on a trip to
the country with the express purpose of showing him how
poor people live.They spent a couple of days and nights on the farm of
what would be considered a very poor family.

On their return from their trip, the father asked his son, "How was the
trip?"
"It was great, Dad."
"Did you see how poor people live?" the father asked.
"Oh yeah," said the son.
"So, tell me, what did you learn from the trip?" asked the father.
The son answered:
"I saw that we have one dog and they had four. We have a pool that
reaches to the middle of our garden and they have a
creek that has no end.We have imported lanterns in our garden and they
have the stars at night.Our patio reaches to the front
yard and they have the whole horizon. We have a small piece of land to
live on and they have fields that go
beyond our sight. We have servants who serve us, but they serve others.
We buy our food, but they grow theirs.
We have walls around our property to protect us, they have friends to
protect them."
The boy's father was speechless.

Then his son added, "Thanks Dad for showing me how poor we are."

Isn't perspective a wonderful thing? Makes you wonder what would happen
if we all gave thanks for everything we have,
instead of worrying about what we don't have.

Appreciate every single thing you have, especially your friends! Pass
this on to friends and acquaintances and help them refresh their
perspective and appreciation.

"Happiness keeps u Sweet, Trials keep u Strong, Sorrow keeps u Human,
Failure Keeps u Humble, Success keeps u Glowing, But only God Keeps u
Going..... "

He's doing a commercial, parlaying his fifteen minutes of movie stardom. She's just graduated from college, recently married, and tagged along with her husband, a photographer on assignment. He's married with children, but he's never home. She's supporting her husband, but has no idea what she wants to do with her own life. Both are searching for the meaning of their lives, looking at the situation from different points of view. A person's lifetime is filled with self examination. Why am I here? What am I doing? Is this as good as it gets? The plot of this movie is the plot of life. You have a beginning. You're in the middle, and your story hasn't ended yet (in some cases, it won't end even after your death). Bob and Charlotte find each other fulfilling certain needs. Charlotte needs Bob's attention and humor, and Bob needs someone he can talk to (Bob "talks" with his wife, but they are not really talking). Bob helps Charlotte by answering her questions regarding life and direction, while Charlotte helps Bob by reminding him how much he loves his children and his wife. The love between the two characters is not one of lust but rather one of emotional and psychological need. Plotless, pointless, and boring? Only if you want all your stories packaged nicely with pretty paper and pretty ribbons. To me, the movie is like the shabu shabu sushi restaurant. What you get out of it depends on how much you put into it. The meaning of our lives, the purpose, the dreams (both dashed and realized), and the expectations forced upon us by others. "Translation" means to explain in simple terms. How do you "translate" what life is? What is it supposed to be about? Different answers for different people at different times in their lives. "Lost In Translation" indeed and it has nothing to do with pronouncing hard

imdb rating : 7.9/10

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Halley is a young high school student who is disillusioned with love after seeing the many dysfunctional relationships around her. Her parents are now divorced and her father has a new young girlfriend she doesn't care for too much. Her mother is now always alone; and her sister is so overwhelmed by her upcoming wedding that she barely leaves the house anymore. On top of that, the shallowness of all the girls and guys at her school convinces Halley that finding true love is impossible. A tragic accident, however, leads her to meeting Macon, and suddenly Halley finds that true love can occur under unusual circumstances

imdb rating 6.1/10

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Four friends deal with their love lives and learn about themselves while working in a funky sandwich shop in Santa Cruz, California.
With the poignant humor and heart of Diner, The Breakfast Club, and Mystic Pizza, here comes Ten Inch Hero much more than just a sandwich, its a story about finding love where you least expect it.
Sex, love and laughs are part of the everyday life in this hip little sub shop in Santa Cruz. For the group of friends who work there, it's an oasis on the complex journey through relationships, a place where they have each other to lean on as they find their way.
Piper (Elizabeth Harnois), an accomplished artist, comes to town in search of the child she gave up for adoption years earlier, but is surprised at what she finds.
Tish (Danneel Harris) is a knockout... and a nymphomaniac. But when will she learn that sex is more than a weapon and find true love?
The irreverent and horny Priestly (Jensen Ackles) dispenses free-wheeling comic advice to everyone, but how long can he hide his own feelings?
Shy Jen (Clea DuVall) watches life pass by, afraid to reach out, except through her e-mail romance with a mysterious stranger. Maybe after Piper and Tish teach her a few things, she'll be ready to meet her online lover in person.
Trucker (John Doe), a surfer child of the 60s, knows about life. He owns the sub shop, after all. So why does he need his young staff to help him discover the love of his life?
The sign out front says it all: Help Wanted normal people need not apply.

imdb rating : 7.4/10

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Bruce Nolan is a television reporter, who is currently assigned what he considers to be undignified assignments, that has him being the butt of a joke. When he is told that he is being considered for the position of anchorman, he goes out to do a live feed but when it is announced that Evan Baxter was going to be the new anchorman, and he freaks out. He gets fired, beaten up, and so on. In the end he blames God. God then decides to give Bruce his powers. Bruce then wreaks havoc and is enjoying it. He sabotages Evan and gets the job of anchorman. But when he realizes that he has to deal with what has got to be God's most arduous task, listening and answering prayers. When he tries to grant everybody what they want, turmoil ensues. And while Bruce is getting everything he wants, he has been ignoring his girlfriend, Grace and loses her. And it seems that the only thing that he can't do, is alter a person's free will, so if he wants her back, he has to do it the hard way

imdb rating : 7/10

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Melanie Carmichael (Reese Witherspoon), an up and rising fashion designer in New York, has gotten almost everything she wished for since she was little. She has a great career and the JFK-like husband of New York City. But when he proposes to her, she doesn't forget about her family back down South - and, more importantly, her husband back there, who refuses to divorce her ever since she sent divorce paper for almost 5 years. To settle matters straight, she decides to go to the south quick and make him sign the papers. But when things don't turn out the way she planned them out, she realizes that what she had before in the south was far more perfect than the life she had in new york city.

imdb rating : 6/10

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Joe Kingman was living the average life of a star football player until 8 year old Payton Kelly shows up at his door insisting that she is his daughter. After some remembering he realizes this could easily be possible and accepts the challange of taking care of her while her mom is away.At first it does not go so well. Finally Joe Gives in to Payton and signs her up for a ballet program where they meet Monique who helps Joe to figure out how to take care of Payton. When Joe and Payton get in a fight and Payton accidentally eats her allergen, Joe realizes he needs to get her to the hospital quickly. When they find out she is ok Payton's mother's sister shows up, who Payton had said was dead, and tells Joe that Payton was not supposed to be there and her mother had died. She takes Payton back right before Joe's championship game and he gets injured. When he is resting in the locker room Payton shows up and tells him she missed him and her aunt decides she should stay with Joe. Joe returns to the game and they win. this is not everything but it is a pretty detailed review correct any mistakes

imdb rating : 6.3/10

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After his partner Tom Wynne and family are killed apparently by the infamous and elusive assassin Rogue, FBI agent Jack Crawford becomes obsessed with revenge as his world unravels into a vortex of guilt and betrayal. Rogue eventually resurfaces to settle a score of his own, setting off a bloody crime war between Asian mob rivals Chang of the Triad's and Yakuza boss Shiro. When Jack and Rogue finally come face to face, the ultimate truth of their pasts will be revealed.

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Mary Cassatt
Self-portrait by Mary Cassatt, c. 1878, gouache on paper, 23 5/8 x 16 3/16 in., Metropolitan Museum of Art, New York
Birth name	Mary Stevenson Cassatt
Born	May 22, 1844(1844-05-22) Allegheny City, Pennsylvania, United States
Died	June 14, 1926 (aged 82) Château de Beaufresne, near Paris, France
Nationality	American
Field	Painting
Training	Pennsylvania Academy of the Fine Arts, Jean-Léon Gérôme, Charles Chaplin, Thomas Couture
Movement	Impressionism

Early life

Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh. She was born into favorable circumstances: her father, Robert Simpson Cassat (later Cassatt), was a successful stockbroker and land speculator, and her mother, Katherine Kelso Johnston, came from a banking family. The ancestral name had been Cossart.^[1] Cassatt was a distant cousin of artist Robert Henri.^[2] Cassatt was one of seven children, of which two died in infancy. Her family moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, where she began schooling at age six.

Cassatt grew up in an environment that viewed travel as integral to education; she spent 5 years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and music.^[3] Her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was likely at the Paris World’s Fair of 1855. Also exhibited at the exhibition were Degas and Pissarro, both of whom would be her future colleagues and mentors.^[4]

Even though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania, at the early age of fifteen.^[5] Part of her parents' concern may have been Cassatt’s exposure to feminist ideas and the bohemian behavior of some of the male students. Although about 20% of the students were female, most viewed art as a socially valuable skill; few of them were determined, as Cassatt was, to make art their career.^[6] She continued her studies during the years of the American Civil War. Among her fellow students was Thomas Eakins, later the controversial director of the Academy.

Impatient with the slow pace of instruction and the patronizing attitude of the male students and teachers, she decided to study the old masters on her own. She later said, “There was no teaching” at the Academy. Female students could not use live models (until somewhat later) and the principal training was primarily drawing from casts.^[7]

Cassatt decided to end her studies (at that time, no degree was granted). After overcoming her father’s objections she moved to Paris in 1866, with her mother and family friends acting as chaperones.^[8] Since women could not yet attend the École des Beaux-Arts, she applied to study privately with masters from the school^[9] and was accepted to study with Jean-Léon Gérôme, a highly regarded teacher known for his hyper-realistic technique and his depiction of exotic subjects. A few months later Gérôme would also accept Eakins as a student.^[9] Cassatt augmented her artistic training with daily copying in the Louvre (she obtained the required permit, which was necessary to control the “copyists”, usually low-paid women, who daily filled the museum to paint copies for sale). The museum also served as a social meeting place for Frenchmen and American female students, who like Cassatt, were not allowed to attend cafes where the avant-garde socialized. In this manner, fellow artist and friend Elizabeth Jane Gardner met and married famed academic painter William-Adolphe Bouguereau.^[10]

Toward the end of 1866, she joined a painting class taught by Charles Chaplin, a noted genre artist. In 1868, Cassatt also studied with artist Thomas Couture, whose subjects were mostly romantic and urban.^[11] On trips to the countryside, the students drew from life, particularly the peasants going about their daily activities. In 1868 one of her paintings, A Mandoline Player, was accepted for the first time by the selection jury for the Paris Salon. This work is in the Romantic style of Corot and Couture,^[12] and is one of only two paintings from the first decade of her career that can be documented today.^[13] The French art scene was in a process of change, as radical artists such as Courbet and Manet tried to break away from accepted Academic tradition and the Impressionists were in their formative years. Cassatt’s friend Eliza Haldeman wrote home that artists “are leaving the Academy style and each seeking a new way, consequently just now everything is Chaos”.^[10] Cassatt, on the other hand, would continue to work in the traditional manner, submitting works to the Salon for over ten years, with increasing frustration.

The Boating Party by Mary Cassatt, 1893–94, oil on canvas, 35 1/2 x 46 in., National Gallery of Art, Washington

Returning to the United States in the late summer of 1870—as the Franco-Prussian War was starting—Cassatt lived with her family in Altoona. Her father continued to resist her chosen vocation, and paid for her basic needs, but not her art supplies.^[14] She placed two of her paintings in a New York gallery and found many admirers but no purchasers. She was also dismayed at the lack of paintings to study while staying at her summer residence. Cassatt even considered giving up art, as she was determined to make an independent living. She wrote in a letter of July, 1871, "I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where."^[15] She traveled to Chicago to try her luck but lost some of her early paintings in the Great Chicago Fire of 1871.^[16] Shortly afterward, her work attracted the attention of the Archbishop of Pittsburgh, who commissioned her to paint two copies of paintings by Correggio in Parma, Italy, advancing her enough money to cover her travel expenses and part of her stay. In her excitement she wrote, “O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again”.^[17] With Emily Sartain, a fellow artist from a well-regarded artistic family from Philadelphia, Cassatt set out for Europe again.

Impressionism

Tea by Mary Cassatt, 1880, oil on canvas, 25 1/2 x 36 1/4 in., Museum of Fine Arts, Boston

Within months of her return to Europe in the autumn of 1871, Cassatt’s prospects had brightened. Her painting Two Women Throwing Flowers During Carnival was well received in the Salon of 1872, and was purchased. She attracted much favorable notice in Parma and was supported and encouraged by the art community there: “All Parma is talking of Miss Cassatt and her picture, and everyone is anxious to know her”.^[18]

After completing her commission for the archbishop, Cassatt traveled to Madrid and Seville, where she painted a group of paintings of Spanish subjects, including Spanish Dancer Wearing a Lace Mantilla (1873, in the National Museum of American Art, Smithsonian Institution). In 1874, she made the decision to take up residence in France. She was joined by her sister Lydia who shared an apartment with her. Cassatt continued to express criticism of the politics of the Salon and the conventional taste that prevailed there. She was blunt in her comments, as reported by Sartain, who wrote: “she is entirely too slashing, snubs all modern art, disdains the Salon pictures of Cabanel, Bonnat, all the names we are used to revere”.^[19] Cassatt saw that works by female artists were often dismissed with contempt unless the artist had a friend or protector on the jury, and she would not flirt with jurors to curry favor.^[20] Her cynicism grew when one of the two pictures she submitted in 1875 was refused by the jury, only to be accepted the following year after she darkened the background. She had quarrels with Sartain, who thought Cassatt too outspoken and self-centered, and eventually they parted. Out of her distress and self-criticism, Cassatt decided that she needed to move away from genre paintings and onto more fashionable subjects, in order to attract portrait commissions from American socialites abroad, but that attempt bore little fruit at first.^[21]

In 1877, both her entries were rejected, and for the first time in seven years she had no works in the Salon.^[22] At this low point in her career she was invited by Edgar Degas to show her works with the Impressionists, a group that had begun their own series of independent exhibitions in 1874 with much attendant notoriety. The Impressionists (also known as the “Independents” or “Intransigents”) had no formal manifesto and varied considerably in subject matter and technique. They tended to prefer open air painting and the application of vibrant color in separate strokes with little pre-mixing, which allows the eye to merge the results in an “impressionistic” manner. The Impressionists had been receiving the wrath of the critics for several years. Henry Bacon, a friend of the Cassatts, thought that the Impressionists were so radical that they were “afflicted with some hitherto unknown disease of the eye”.^[23] They already had one female member, artist Berthe Morisot, who became Cassatt’s friend and colleague.

Degas, Portrait of Miss Cassatt, Seated, Holding Cards, c. 1876-1878, oil on canvas

Cassatt admired Degas, whose pastels had made a powerful impression on her when she encountered them in an art dealer's window in 1875. "I used to go and flatten my nose against that window and absorb all I could of his art," she later recalled. "It changed my life. I saw art then as I wanted to see it."^[24] She accepted Degas' invitation with enthusiasm, and began preparing paintings for the next Impressionist show, planned for 1878, which (after a postponement because of the World’s Fair) took place on April 10, 1879. She felt comfortable with the Impressionists and joined their cause enthusiastically, declaring: “we are carrying on a despairing fight & need all our forces”.^[25] Unable to attend cafes with them without attracting unfavorable attention, she met with them privately and at exhibitions. She now hoped for commercial success selling paintings to the sophisticated Parisians who preferred the avant-garde. Her style had gained a new spontaneity during the intervening two years. Previously a studio-bound artist, she had adopted the practice of carrying a sketchbook with her while out-of-doors or at the theater, and recording the scenes she saw.^[26]

Summertime, c. 1894, oil on canvas

In 1877, Cassatt was joined in Paris by her father and mother, who returned with her sister Lydia. Mary valued their companionship, as neither she nor Lydia had married. Mary had decided early in life that marriage would be incompatible with her career. Lydia, who was frequently painted by her sister, suffered from recurrent bouts of illness, and her death in 1882 left Cassatt temporarily unable to work.^[27]

Cassatt’s father insisted that her studio and supplies be covered by her sales, which were still meager. Afraid of having to paint “potboilers” to make ends meet, Cassatt applied herself to produce some quality paintings for the next Impressionist exhibition. Three of her most accomplished works from 1878 were Portrait of the Artist (self-portrait), Little Girl in a Blue Armchair, and Reading Le Figaro (portrait of her mother).

Degas had considerable influence on Cassatt. She became extremely proficient in the use of pastels, eventually creating many of her most important works in this medium. Degas also introduced her to etching, of which he was a recognized master. The two worked side-by-side for awhile, and her draftsmanship gained considerable strength under his tutelage. He depicted her in a series of etchings recording their trips to the Louvre. She had strong feelings for him but learned not to expect too much from his fickle and temperamental nature. The sophisticated and well-dressed Degas, then forty-five, was a welcome dinner guest at the Cassatt residence.^[28]

The Impressionist exhibit of 1879 was the most successful to date, despite the absence of Renoir, Sisley, Manet and Cézanne, who were attempting once again to gain recognition at the Salon. Through the efforts of Gustave Caillebotte, who organized and underwrote the show, the group made a profit and sold many works, although the criticism continued as harsh as ever. The Revue des Deux Mondes wrote, “M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves…and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing”.^[29]

Cassatt displayed eleven works, including La Loge. Although critics claimed that Cassatt’s colors were too bright and that her portraits were too accurate to be flattering to the subjects, her work was not savaged as was Monet's, whose circumstances were the most desperate of all the Impressionists at that time. She used her share of the profits to purchase a work by Degas and one by Monet.^[30] She exhibited in the Impressionist Exhibitions that followed in 1880 and 1881, and she remained an active member of the Impressionist circle until 1886. In 1886, Cassatt provided two paintings for the first Impressionist exhibition in the United States, organized by art dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt as advisor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection is now in the Metropolitan Museum of Art in New York City.^[31] She also made several portraits of family members during that period, of which Portrait of Alexander Cassatt and His Son Robert Kelso (1885) is one of her best regarded. Cassatt’s style then evolved, and she moved away from Impressionism to a simpler, more straightforward approach. She began to exhibit her works in New York galleries as well. After 1886, Cassatt no longer identified herself with any art movement and experimented with a variety of techniques.

Later life

"Under the Horse Chestnut Tree", drypoint and aquatint print, 1898.

Cassatt's popular reputation is based on an extensive series of rigorously drawn, tenderly observed, yet largely unsentimental paintings and prints on the theme of the mother and child. The earliest dated work on this subject is the drypoint Gardner Held by His Mother (an impression inscribed "Jan/88" is in the New York Public Library),^[32] although she had painted a few earlier works on the theme. Some of these works depict her own relatives, friends, or clients, although in her later years she generally used professional models in compositions that are often reminiscent of Italian Renaissance depictions of the Madonna and Child. After 1900, she concentrated almost exclusively on mother-and-child subjects.^[33]

In 1891, she exhibited a series of highly original colored drypoint and aquatint prints, including Woman Bathing and The Coiffure, inspired by the Japanese masters shown in Paris the year before. (See Japonism) Cassatt was attracted to the simplicity and clarity of Japanese design, and the skillful use of blocks of color. In her intrepretation, she used primarily light, delicate pastel colors and avoided black (a “forbidden” color among the Impressionists). A. Breeskin, of the Smithsonian Institution, notes that these colored prints, “now stand as her most original contribution… adding a new chapter to the history of graphic arts…technically, as color prints, they have never been surpassed”.^[34]

The Child's Bath (The Bath) by Mary Cassatt, 1893, oil on canvas, Art Institute of Chicago

The 1890s were Cassatt's busiest and most creative time. She had matured considerably and became more diplomatic and less blunt in her opinions. She also became a role model for young American artists who sought her advice. Among them was Lucy A. Bacon, whom Cassatt introduced to Camille Pissarro. Though the Impressionist group disbanded, Cassatt still had contact with some of the members, including Renoir, Monet, and Pissarro.^[35] As the new century arrived, she served as an advisor to several major art collectors and stipulated that they eventually donate their purchases to American art museums. Although instrumental in advising the American collectors, recognition of her art came more slowly in the United States. Even among her family members back in America, she received little recognition and was totally overshadowed by her famous brother.^[36]

Mary Cassatt's brother, Alexander Cassatt, (president of the Pennsylvania Railroad from 1899 until his death) died in 1906. She was shaken, as they had been close, but she continued to be very productive in the years leading up to 1910.^[37] An increasing sentimentality is apparent in her work of the 1900s; her work was popular with the public and the critics, but she was no longer breaking new ground, and her Impressionist colleagues who once provided stimulation and criticism were dying off. She was hostile to such new developments in art as post-Impressionism, Fauvism and Cubism.^[38]

A trip to Egypt in 1910 impressed Cassatt with the beauty of its ancient art, but was followed by a crisis of creativity; not only had the trip exhausted her, but she declared herself "crushed by the strength of this Art", saying, "I fought against it but it conquered, it is surely the greatest Art the past has left us ... how are my feeble hands to ever paint the effect on me."^[39] Diagnosed with diabetes, rheumatism, neuralgia, and cataracts in 1911, she did not slow down, but after 1914 she was forced to stop painting as she became almost blind. Nonetheless, she took up the cause of women's suffrage, and in 1915, she showed eighteen works in an exhibition supporting the movement.

In recognition of her contributions to the arts, France awarded her the Légion d'honneur in 1904.

She died on June 14, 1926 at Château de Beaufresne, near Paris, and was buried in the family vault at Mesnil-Théribus, France.

As of 2005, her paintings have sold for as much as $2.87 million.

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The President of the United States is in Salamanca, Spain, about to address the city in a public square. We see a plain-clothes cop, his girlfriend with another man, a mother and child, an American tourist with a video camera, and a Secret Service agent newly returned from medical leave. Shots ring out and the President falls; a few minutes later, we hear a distant explosion, then a bomb goes off in the square. Those minutes are retold, several times, emphasizing different characters' actions. Gradually, we discover who's behind the plot. Is the Secret Service one step ahead, or have the President's adversaries thought of everything?

imdb rating : 6.7/10

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Stonehenge

The megalithic ruin known as Stonehenge stands on the open downland of Salisbury Plain two miles (three kilometres) west of the town of Amesbury, Wiltshire, in Southern England. It is not a single structure but consists of a series of earth, timber, and stone structures that were revised and re-modelled over a period of more than 1400 years. In the 1940s and 1950s, Richard Atkinson Archaeological Report (10) published by English Heritage. proposed that construction occurred in three phases, which he labelled Stonehenge I, II, IIIa, IIIb, and IIIc. This sequence has recently been revised in

Phase I (2950-2900 BCE)

Stonehenge Phase I (2950-2900 BCE)

The earliest portion of the complex dates to approximately 2950-2900 BCE (Middle Neolithic). It is comprised a circular bank, ditch, and counterscarp bank of about 330 feet (100 metres) in diameter. Just inside the earth bank is a circle of the 56 Aubrey holes that held wooden posts.

Phase II (c. 2900-2400 BCE)
After 2900 BCE and for approximately the next 500 years (until 2400 BCE), post holes indicate timber settings in the centre of the monument and at the north-eastern entrance. The Aubrey Holes no longer held posts but were partially filled, some with cremation deposits added to the fill. The numerous post holes indicate timber structures but no clear patterns or configurations are discernible that would suggest their shape, form, or function.

Phase III (c. 2550-1600 BCE)

Stonehenge Phase III, sub-phase 3ii (c. 2550-1600 BCE)
The Sarsen Circle and the Trilithon Horseshoe

During Phase III the monument underwent a complicated sequence of settings of large stones. The first stone setting comprised a series of Bluestones placed in what are known as the Q and R Holes (sub-phase 3i). These were subsequently dismantled and a circle of Sarsens and a horseshoe-shaped arrangement of Trilithons erected (sub-phase 3ii).

The Sarsen Circle, about 108 feet (33 metres) in diameter, was originally comprised of 30 neatly trimmed upright sandstone blocks of which only 17 are now standing. The stones are evenly spaced approximately 1.0 to 1.4 metres apart, and stand on average 13 feet (4 metres) above the ground. They are about 6.5 feet (2 metres) wide and 3 feet (1 metre) thick and taper towards the top. They originally supported sarsen lintels forming a continuous circle around the top. Each lintel block has been shaped to the curve of the circle. The average length of the rectangular lintels is 3.2 metres (10' 6"). The lintels were fitted end-to end using tongue-and-groove joints, and fitted on top of the standing sarsen with mortice and tenon joints. The Sarsen Circle with its lintels is perhaps the most remarkable feature of Stonehenge in terms of design, precision stonework, and engineering.

Part of the outer Sarsen Circle with lintels in place.
In front of them are stones of the Bluestone Horseshoe (see below)

Sarsen stones are hard-grained sandstone with a silaceous cement. They were probably brought to the site from the Marlborough Downs, about 30 kilometres to the north of Stonehenge.

The Trilithons are ten upright stones arranged as five freestanding pairs each with a single horizontal lintel. They were erected within the Sarsen Circle in the form of a horseshoe with the open side facing north-east towards the main entrance of the monument. They were arranged symmetrically and graded in height; the tallest is in the central position. Only three of the five Trilithons are now complete with their lintels. The other two both have only one standing stone with the second stone and lintel lying on the ground.

Two of the Trilithons
In front of them can be seen two of the upright bluestones, which originally formed an oval inside the horseshoe of Trilithons

Bluestones may have been added next (sub-phase 3iii) but were subsequently removed.

Stonehenge Phase III, sub-phase 3iv (c. 2550-1600 BCE)
The Bluestone Oval and the Bluestone Circle

In sub-phase 3iv, a Bluestone Oval added within Trilithon Horseshoe and a Bluestone CircleTrilithon Horseshoe but inside the Sarsen Circle. added outside the Trilithon Horseshoe but inside the Sarsen Circle.

The term "Bluestone" refers to various types of mostly igneous rocks including dolerites, rhyolites, and volcanic ash. It also includes some sandstones. The Bluestones at Stonehenge are believed to have originated from various outcrops in the Preseli Hills in Pembrokeshire in Wales. How they were transported to the site at Stonehenge has been the subject of much speculation.

Stonehenge Phase III, sub-phase 3v (c. 2550-1600 BCE)
The Bluestone Horseshoe

In sub-phase 3v, an arc of stone was removed from the Bluestone Oval to form a Bluestone Horseshoe.

Stonehenge Phase III, sub-phase 3vi (c. 2550-1600 BCE)
The Y and Z Holes

In the final sub-phase (3vi), two circles, one inside the other, known as the Y and Z Holes were dug for the placement of stones but were never filled.

Probably also dating to Phase III are the four Station Stones (only two of which survive, and one of them has fallen). These sarsen stones stood just inside the Bank on more or less the same line as the Aubrey Holes. Two of the Station Stones were surrounded by circular ditches 10 to 12 metres in diameter. These have caused the area enclosed by the ditch to appear mound-like and have lead to the erroneous identification of each mound as a burial barrow.

Assigned to Phase III are also Stoneholes D and E and the recumbent sarsen known as the Slaughter Stone located on the north-east side in a break in the bank-and-ditch in what is regarded as the main entrance of the monument.

At this time was also laid out an earthwork known as the Avenue that extends north-east from the break in the bank-and-ditch.

Located further along the Avenue , and most likely dating to this period, is the so-called Heel Stone (Stone 96). The sarsen Heel Stone is approximately 16 feet high (4.88 metres), with another 4 feet (1.22 metres) buried below ground. The Heel Stone is surrounded by a circular ditch of approximately the same dimensions as the ditch surrounding each of the two Station Stones. The stone now leans out of vertical but most likely once stood upright. Originally, the Heel Stone may have been paired with another stone now missing (Stonehole 97).

Heel Stone

Finally, mention should be made of the so-called Altar Stone, a large dressed block of sandstone that lies embedded in the ground within the Trilithon Horseshoe and "in front of" of the central and largest Trilithon pair. Two fallen stones now lie across it. The stone is believed to be Cosheston Beds Sandstone from south Wales, and is the only example of this type of stone at Stonehenge. It is 16 feet long (4.9 metres), 3 feet 6 inches wide (1 metre), and 1 foot 9 inches thick (0.5 metres).

Stonehenge at the end of Phase III
(image from Mohen, p. 131)

thanks to:Dr. Christopher L. C. E. Witcombe
Professor, Department of Art History, Sweet Briar College, Virginia

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