Her only memory is dying from her wounds… Jane wakes up in a lab. She's alone, immersed in a sterilized tank with wires and tubes connected to her. She looks around. There are others–test subjects like her. Except they're all dead. What makes her different? She has no answers, but she wants them. Wants them with a powerful drive that courses through her like the life she lost in a night raid in Afghanistan. It's a life she shouldn't have now. Someone brought her back without her memories–no doubt for a reason. Only it seems they changed their minds. Men in gray suits are trying to kill her now. They shoot her, but she heals. As she flees, she leaves a trail of bodies. She knows they will pursue her unceasingly. Let them come. Jane wants answers because none of this is accidental. Who is she? How was she brought back? What are the limits of her body? What causes the fever that rages in her? And one thing she wants to know above all. Should she thank the people who did this–or kill them?

When your boss pulls a gun on you, it might be time to quit. Brandon Wheegar has just joined Baseborn Identity Research as a security guard. But no one told him how bad things can get when a secretive employer has deep pockets and no conscience. He should’ve quit the night his supervisor went off on him. Now, alphas, murderous mutant test subjects, are loose in the facility. And then there are the hypers, genetically modified superhumans. They lie asleep in specially designed tanks—all except one. Her name is Jane. A deadly soldier with skills, she’s virtually unkillable. Better not to cross her. Ever. Someone should probably warn Brandon. Brandon’s Last Words is the prequel to the exciting Hard To Kill Series. Jane’s story continues in Faithless: A Jane Doe Thriller.

Avoid the mutants. Save the girl. Get revenge… Dave Pulaski is hurting. His wife is dead, and he knows who to blame. Walt Freeman – the man who unleashed a medical experiment that turned a quiet town into a bioscience nightmare. Blame isn't enough, though. He goes to Los Angeles to get revenge. But his mission is sidetracked. Despite the risk, he feels compelled to help Sasha, a Russian girl who escaped Walt's government-funded lab. This throws a deadly obstacle in his path. An ex-military sociopath employed by Freeman is now on the hunt for both of them. Chances are Dave will die before he can save the girl. But, as bad as the killer is, he may not be the biggest threat. The experiment unleashed cutters, genetically engineered mutants, on Los Angeles. They run rampant throughout the city, flaying their victims. Dave has to avoid them while outsmarting the sociopath and delivering retribution. But he begins to suspect an even greater problem. Sasha might be one of them…

Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.

Authoritative criticism covering every area of world cinema: classic silents and thirties comedies, documentaries and the avant-garde, French or Japanese cinema as well as the Hollywood mainstream and the latest megaprocutions and B-movie horrors. Assessments of well over 10,000 movies, including full details of director, cast, alternative titles and release date for each film.

CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success.

Winner of the 2018 Eugene Paul Nassar Poetry Prize Doe began as author Aimée Baker's attempt to understand and process the news coverage of a single unidentified woman whose body was thrown from a car leaving Phoenix, Arizona. It soon grew into a seven-year-long project with the goal to document, mourn, and witness the stories of missing and unidentified women in the United States.

The central thesis of this book is that a genre approach provides the most effective means for understanding, analyzing and appreciating the Hollywood cinema. Taking into account not only the formal and aesthetic aspects of feature filmmaking, but various other cultural aspects as well, the genre approach treats movie production as a dynamic process of exchange between the film industry and its audience. This process, embodied by the Hollywood studio system, has been sustained primarily through genres, those popular narrative formulas like the Western, musical and gangster film, which have dominated the screen arts throughout this century.