"Another masterpiece about Sicily, another meditation on eternity, and an endlessly rich historical tapestry, meticulously composed in color and on 70 mm. Luchino Visconti based the picture on the Count Giuseppe Tomasi di Lampedusa’s posthumously published novel, about a Sicilian prince at the time of the Italian unification, or Risorgimento, who steps away from power and influence because he realizes that the life he and his family have led is coming to an end, that he has to get out of the way for younger and more ambitious men like his nephew Tancredi. Visconti and his fellow screenwriters (there were four of them, including his frequent collaborators Suso Cecchi D’Amico and Enrico Medioli) took Lampedusa’s novel and fashioned a whole new work on a grand scale, an epic but of a very unusual type. Time itself is the protagonist of The Leopard: the cosmic scale of time, of centuries and epochs, on which the prince muses; Sicilian time, in which days and nights stretch to infinity; and aristocratic time, in which nothing is ever rushed and everything happens just as it should happen, as it has always happened. The landscapes, the extraordinary settings with their painstakingly selected objects and designs, the costumes, the ceremonies and rituals—it’s all at the service of deepening our sense of time and large-scale change, and the entire picture culminates in an hour-long sequence at a ball in which you can feel, through the eyes of the prince, an entire way of life (one that Visconti himself knew quite well) in the process of fading away. Like Contempt, The Leopard was initially overshadowed by the circumstances around it, namely, the casting of Burt Lancaster as the prince. Here in America, we saw the picture in a shortened and dubbed version (Lancaster was speaking English) that was a little unsatisfying: you could clearly see that the movie Visconti had intended wasn’t quite all there, and it was jarring to watch Lancaster speaking in his normal voice surrounded by Alain Delon and Claudia Cardinale and Paolo Stoppa dubbed into American English. When I got to see the whole thing, I was astonished by the picture and by Lancaster, who gives all of himself to the role and to the world of the film. Visconti had wanted Laurence Olivier, and he was initially very curt with Lancaster, but the actor won him over and they became lifelong friends. I could go on and on about The Leopard. It’s a film that has become more and more important to me as the years have gone by."

"A Game of Thrones meets X-Men in this 14th-century fantasy from Marie Lu (the Legend trilogy), in a world where "fear is power." Sixteen-year-old Adelina Amouteru is a malfetto, one whose appearance is "marked" by the blood fever that crippled the country of Kenettra and claimed her mother's life. The blood fever took Adelina's left eye, turned her hair silver, and gave her a power that's remained dormant--until the fateful night her merchant father agrees to trade her to a suitor in exchange for cleared debts. Adelina runs away from home, and once her father catches up with her, she taps into a great hatred within and conjures forth phantoms that quickly cause his death. It was an accident, but the Inquisitors arrest Adelina and sentence her to burn at the stake--a common punishment for malfettos--for the murder of her father. Master Teren Santoro, the 19-year-old Lead Inquisitor of Kenettra, works to cleanse the world of malfettos with ""demon"" abilities. When it comes time to burn Adelina in the central market square, Enzo Valenciano, a malfetto known widely as The Reaper, melts her shackles with his burning touch and releases her. He takes her to Estenzia, the northern port capital, where Enzo introduces Adelina to the world of the Dagger Society--a group of Young Elites with dangerous powers--and their mission to find malfettos like themselves before the Inquisition can. Adelina must pass a series of tests before she can undertake bigger missions with the other six Young Elites who can control their talents, and it's here with the Dagger Society that she discovers her ability to conjure illusions is rooted in darkness. But when Teren Santoro takes her younger sister hostage in exchange for information on the identities, location and plans of the Young Elites, Adelina is compelled to betray them, even if it means leaving the undiscovered malfettos all over the world prey to the Inquisitors, and risking her own death as punishment at the hands of the Elites. In Lu's compelling new novel, the characters are morally complex (the Young Elites are not fully innocent, there are depths to Adelina's darkness and layers to the cross Teren bears)--and no one is safe in the book's final conflict. What at first appears to be romance-lite unfolds in tricky and interesting ways. The many twists, cinematic battles and the overriding epic fantasy will keep readers hooked for book two, which teases to be quite the game-changer. Bring it on."