Explore the vast range of titles available.

Peanut shells occasionally litter Clint Eastwood’s office carpet. Eastwood doesn’t eat peanuts. Neither does his staff, which keeps his quarters on the Warner Bros. lot immaculate. The mess belongs to Lola, a squirrel Eastwood lets roam his office and ransack a bag he leaves open on the bottom of a bookcase. She comes through the front door, which Eastwood also leaves open. Security has tried to evict Lola with traps and pellet guns, Eastwood says. But no one has said a peep to him about the studio policy that bans animals unless they’re acting. “If you do something long enough,”

Rare diseases are collectively far more common than their designation might imply, and they represent a significant source of global disease burden, infant mortality, and healthcare costs. Expansive sequencing technologies such as genome sequencing represent some of the most efficient ways to diagnose patients with suspected genetic disease, and the clinical use of sequencing has expanded greatly in recent years. Genome sequencing, one of the most comprehensive sequencing technologies, is estimated to deliver a diagnosis to an impressive 34-48% of sequenced patients. The remaining patients have little recourse for receiving a molecular diagnosis and the subsequent treatment, prognosis, or genetic counseling that diagnosis allows. Limited knowledge of genome function, and limited ability to interpret the effects of genetic changes, represent crucial translational hurdles that prevent clinicians from fully leveraging the power of sequencing technology to diagnose patients. Increasingly, the challenges of rare disease diagnosis are becoming not how to sequence patients and collect genetic information, but how to interpret the wealth of genetic information obtained by sequencing. This thesis document will introduce new methods which span clinical and research approaches to interpret the significance of genetic variants and deliver precise diagnoses to rare disease patients.

If there's a surprise darling of summer, it's that villainous Maleficent. Angelina Jolie's dark fairy tale collected $238 million, largely on the shoulders of female 'tweeners. The Fault in Our Stars ($124 million) sparkled, and Lucy was a knockout, too ($114 million). Romantic comedies, though, normally a shoo-in with the ladies, faltered: Blended, which reunited Adam Sandler and Drew Barrymore, barely caused any sparks at $46 million. This month's The Giver ($25 million) and If I Stay ($18 million) dragged down the bell curve as well.

\"One reason for the summer box office drop-off is the decline of young male interest in new movies,\" he says. \"While several films with female leads have placed unexpectedly high among the season's hits, most of the tent-pole entries seem to have lagged behind what they might have reached in previous summers.\" \"What explains this historic decline?\" asks Ray Subers, analyst for Mojo. \"It can be chalked up to an abnormally weak lineup of movies that weren't appealing enough to get people into theaters. Moviegoers aren't just going to show up out of habit -- there needs to be something worth seeing.\"

It proved a stronger reception than Dame's. Though the movie earned an approval rating of 43% of critics, it scored just a \"B-\" with fans, says CinemaScore, an ominous sign for its long-term prospects. \"The big story of the week is\" not the box-office race, suggests David Mumpower, analyst for Box Office Prophets. \"Instead, it is the shocking failure of Sin City: A Dame to Kill For, which would have been more aptly titled A Dame to Ignore.\" Dame \"has been released half a dozen years too late for anyone to care,\" he says. \"Because of this inexplicable delay, a project that easily could have opened to $50 million in 2007\" couldn't crack the top five.

Though he would win two Oscars for 1982's biopic Gandhi, which earned Academy Awards for best picture and best director, [Richard Attenborough] became better known for his role as John Hammond in 1993's Jurassic Park, a role he would reprise in 1997's The Lost World: Jurassic Park.

Michael Fassbender plays the title character in one of the odder roles of his career (and he's had a few). And even if [Frank] is a little too smitten with its own quirkiness, the film's examination of what matters in music -- fame, money, sanity? -- works as a kind of Behind the Music peek at a band's struggle for identity and devotees. Frank's gimmick is what keeps director Lenny Abrahamson from reaching the sublime. The Irish-German Fassbender is a wonder of an actor, and his American accent is spot on. But he can't eclipse a costume that makes him look like a reject from a Jack in the Box commercial. And, as Andy Serkis of Gollum fame will attest, moviegoers need to see an actor's eyes to connect (we didn't like Darth Vader until he took off the helmet). But Frank keeps friends and fans at such a distance, his character feels detached from us, too.

\"This is a demographic with some mad money to spend and a direct line to the cultural zeitgeist,\" says Rentrak's Paul Dergarabedian. \"They are influencers and tastemakers.\" The disparate ticket sales underscore the difficulty of tapping into teen tastes. \"Beware!\" Dergarabedian says, adding that young moviegoers \"are fickle, hard to impress and can make or break your movie with a few taps of their Twitter finger.\" \"Because it was such a successful book, I thought this will be a movie that will be easy to get made,\" he says. \"But that proved not true!\"

Filmmakers \"were under no obligation to consult with me,\" says [Lois Lowry], who visited the set in South Africa. \"It was really gratifying when (director Phillip Noyce) would call me for advice. He was so meticulous. He kept the book in front of him during the whole process. That was my biggest relief, that they were dedicated to preserving the intent of the book.\" It helped that the book had adult fans, including [Jeff Bridges] and swriter Michael Mitnick. \"It was my favorite book growing up,\" Mitnick says. In making changes, \"I'd feel sad when little elements had changed ... and I was the one making the changes.\" Why are all Hollywood futures dystopian? After a brief silence, she posits an answer. \"That's a good question. Maybe for dramatic purposes,\" she says. \"Utopia can be so boring.\"

Teenage Mutant Ninja Turtles, the fifth critically ravaged installment of the kids' franchise, stunned Guardians of the Galaxy this weekend, dethroning the superhero squadron after just one week at No. 1. Despite scoring a thumbs-up from just 20% of the nation's critics, according to Rotten Tomatoes, the movie earned a collective \"B\" from moviegoers, says pollsters CinemaScore. More importantly, the movie earned an A from children, says distributor Paramount Pictures. Fond memories likely played a part in the film's success: The studio says that 55% of moviegoers were 25 or older, a surprisingly mature demographic. Not so surprisingly, 61% of the audience was male, Paramount says. 'The film obviously had greater-than-expected appeal to nostalgic parents,\" says Rentrak's Paul Dergarabedian.