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A VETERAN THIEF RECRUITS A YOUNGER CROOK TO HELP HIM PULL OFF ONE FINAL JOB IN ORDER TO REPAY HIS DEBT TO THE RUSSIAN MOB.

What do flashlights, the British invasion, black cats, and seesaws have to do with computers? In CODE, they show us the ingenious ways we manipulate language and invent new ways to communicate with each other. And through CODE, we see how this ingenuity-and our very human compulsion to communicate-have driven the technological innovations of the past two centuries. Now in paperback edition, this critically praised book weaves an inventive and eminently comprehensible narrative for anyone who's ever wondered about the secret inner life of computers and other smart machines. The work of legendary computer book author Charles Petzold has influenced an entire generation of programmers. And with CODE, Microsoft Press is proud to share this gifted teacher and communicator with every reader interested in understanding today's world of PCs, digital media, and the Internet.

Charles Petzold's latest book, Code: The Hidden Language of Computer Hardware and Software, crosses over into general-interest nonfiction from his usual programming genre. It's a carefully written, carefully researched gem that will appeal to anyone who wants to understand computer technology at its essence. Readers learn about number systems (decimal, octal, binary, and all that) through Petzold's patient (and frequently entertaining) prose and then discover the logical systems that are used to process them. There's loads of historical information too. From Louis Braille's development of his eponymous raised-dot code to Intel Corporation's release of its early microprocessors, Petzold presents stories of people trying to communicate with (and by means of) mechanical and electrical devices. It's a fascinating progression of technologies, and Petzold presents a clear statement of how they fit together.

The real value of Code is in its explanation of technologies that have been obscured for years behind fancy user interfaces and programming environments, which, in the name of rapid application development, insulate the programmer from the machine. In a section on machine language, Petzold dissects the instruction sets of the genre-defining Intel 8080 and Motorola 6800 processors. He walks the reader through the process of performing various operations with each chip, explaining which opcodes poke which values into which registers along the way. Petzold knows that the hidden language of computers exhibits real beauty. In Code, he helps readers appreciate it. --David Wall

Topics covered: Mechanical and electrical representations of words and numbers, number systems, logic gates, performing mathematical operations with logic gates, microprocessors, machine code, memory and programming languages.

As 'Nouvelle Vague' spearheaded the new wave of French filmmaking, 'Nouveau Gloaming' is a new movement in Black Metal. Roughly translated as 'New Twilight,' it is the name given to a new wave of old-school darkness. It is the marriage of early nineties cold Black Metal and the avant-garde, the surreal and cold hard grimness. The album features 8 tracks. Spikefarm Records. 2005.

From acclaimed director Mimi Leder, with an all-star action cast led by Morgan Freeman, Antonio Banderas and Rahda Mitchell, THE CODE is full of deceit, thievery and twists at every turn. While pulling a down-and-dirty jewelry heist on a subway train, Jack (Banderas) encounters Ripley (Freeman), a legendary thief who was casing the same job. In spite of Jack s initial reluctance, Ripley manages to rope him into an impossible job: the theft of two priceless Faberge Imperial Eggs from the heavily guarded vault of a New York diamond wholesaler. The stakes rise for Jack and Ripley when Ripley s goddaughter (Mitchell) is kidnapped by the KGB. Staying one step ahead of the NYPD, the FBI, the diamond merchants and the vicious Russian KGB crime boss determined to have the priceless eggs for himself, Jack and Ripley must find a way to pull off the heist and make it out alive.

In his first book since the bestselling Fermat's Enigma, Simon Singh offers the first sweeping history of encryption, tracing its evolution and revealing the dramatic effects codes have had on wars, nations, and individual lives. From Mary, Queen of Scots, trapped by her own code, to the Navajo Code Talkers who helped the Allies win World War II, to the incredible (and incredibly simple) logisitical breakthrough that made Internet commerce secure, The Code Book tells the story of the most powerful intellectual weapon ever known: secrecy.

Throughout the text are clear technological and mathematical explanations, and portrayals of the remarkable personalities who wrote and broke the world's most difficult codes. Accessible, compelling, and remarkably far-reaching, this book will forever alter your view of history, what drives it, and how private that e-mail you just sent really is.

People love secrets. Ever since the first word was written, humans have sent coded messages to each other. In The Code Book, Simon Singh, author of the bestselling Fermat's Enigma, offers a peek into the world of cryptography and codes, from ancient texts through computer encryption. Singh's compelling history is woven through with stories of how codes and ciphers have played a vital role in warfare, politics, and royal intrigue. The major theme of The Code Book is what Singh calls "the ongoing evolutionary battle between codemakers and codebreakers," never more clear than in the chapters devoted to World War II. Cryptography came of age during that conflict, as secret communications became critical to both sides' success.

Confronted with the prospect of defeat, the Allied cryptanalysts had worked night and day to penetrate German ciphers. It would appear that fear was the main driving force, and that adversity is one of the foundations of successful codebreaking.

In the information age, the fear that drives cryptographic improvements is both capitalistic and libertarian--corporations need encryption to ensure that their secrets don't fall into the hands of competitors and regulators, and ordinary people need encryption to keep their everyday communications private in a free society. Similarly, the battles for greater decryption power come from said competitors and governments wary of insurrection.

The Code Book is an excellent primer for those wishing to understand how the human need for privacy has manifested itself through cryptography. Singh's accessible style and clear explanations of complex algorithms cut through the arcane mathematical details without oversimplifying. --Therese Littleton

Dan Brown's international bestseller comes alive in the film The Da Vinci Code, directed by Ron Howard with a screenplay by Akiva Goldsman. Join symbologist Robert Langdon (Academy Award® Winner Tom Hanks, 1993 Best Actor, Philadelphia, and 1994 Best Actor, Forrest Gump) and cryptologist Sophie Neveu (Audrey Tautou) in their heart-racing quest to solve a bizarre murder mystery that will take them from France to England – and behind the veil of a mysterious ancient society, where they discover a secret protected since the time of Christ. With first-rate performances by Sir Ian McKellen, Alfred Molina and Jean Reno, critics are calling The Da Vinci Code "involving" and "intriguing," "a first rate thriller."

Critics and controversy aside, The Da Vinci Code is a verifiable blockbuster. Combine the film's huge worldwide box-office take with over 100 million copies of Dan Brown's book sold, and The Da Vinci Code has clearly made the leap from pop-culture hit to a certifiable franchise. The leap for any story making the move from book to big screen, however, is always more perilous. In the case of The Da Vinci Code, the plot is concocted of such a preposterous formula of elements that you wouldn’t envy screenwriter Akiva Goldsman, the man tasked with making this story filmable. The script follows Dan Brown’s book as closely as possible while incorporating a few needed changes, including a better ending. And if you’re like most of the world, by now you’ve read the book and know how it goes: while lecturing in Paris, noted Harvard Professor of Symbology Robert Langdon (Tom Hanks) is summoned to the Louvre by French police to help decipher a bizarre series of clues left at the scene of the murder of the chief curator. Enter Sophie Neveu (Audrey Tautou), gifted cryptologist. Neveu and Langdon team up to solve the mystery, and from there the story is propelled across Europe, ballooning into a modern-day mini-quest for the Holy Grail, where secret societies are discovered, codes are broken, and murderous albino monks are thwarted… oh, and alternative theories about the life of Christ and the beginnings of Christianity are presented too, of course. It’s not the typical formula for a stock Hollywood thriller. In fact, taken solely as a mystery, the movie almost works--despite some gaping holes--mostly just because it keeps moving. Brown’s greatest trick was to have the entire story take place in one day, so the action is forced to keep moving, despite some necessary pauses for exposition. As a screen couple, Hanks and Tautou are just fine together but not exactly memorable; meanwhile Sir Ian McKellen’s scenery-chewing as pivotal character Sir Leigh Teabing is just what the film needed to keep it from taking itself too seriously. The whole thing is like a good roller-coaster ride: try not to think too much about it--just sit back and enjoy the trip. --Daniel Vancini

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On The DVD
The DVD extras on a film as popular as The Da Vinci Code should be plentiful, and this version doesn’t skimp. With over 90 minutes of special features, including ten behind-the-scenes featurettes, there’s a lot here to explore beyond the film itself. The question is, is there anything new here that we haven’t heard before, in all the hype, pseudo-documentaries, and controversy surrounding the movie, to make it worthwhile? For most viewers, the answer will be "yes." Essentially, if you like the movie, if you enjoyed the book, you will get a lot out of them.

Just as the movie is intended to make the book come to life, the DVD extras should make the film come to life by pointing the audience into the world of the filmmakers, connecting the dots between print and film, and for the most part they do just that. The extras here range from the typical look behind-the-scenes to more in-depth features on the supporting characters, the locations, and the Mona Lisa herself. "First Day on the Set with Ron Howard" features the director gushing about the opportunity to film in the Louvre and work with Tom Hanks again (the two worked together before on Splash and Apollo 13). It’s a short piece that doesn’t reveal much beyond making an attempt to share Howard’s excitement (with the "Gee, I really loved working with him/her on this project" that you hear in every such featurette), but viewers might enjoy seeing how the stage was set up in the famous museum, down to the spike tape on the floor showing actors where to hit their marks. The Filmmaking Experience, Parts 1 and 2 further explores the creative and technical aspects of the filmmaking process. A Conversation with Dan Brown starts out feeling like a puff-piece (the man who wrote this book got started at age 5 with a story called The Giraffe, The Pig, and the Pants on Fire. "It was a thriller," he says.) and unfortunately it doesn’t go very deep into much of anything of interest. But on the other hand, this isn’t 60 Minutes here; it’s intended to give viewers a better sense of the man behind the franchise, which it does. Much of the footage from this interview is sprinkled throughout some of the other featurettes. Meanwhile, the character behind the franchise, Robert Langdon, is examined in his own featurette, as is Sophie Neveu. The cool thing here is getting under the skin of the actors to see how they approached the characters, knowing that most of the movie-going public already has formed their own ideas about the characters from the book.

The most interesting extras are the featurettes that focus on the history behind the mystery. Or is it the mystery behind the history? Either way, the first one on the Mona Lisa, and the second featurette on the many codes and symbols that are hidden throughout the movie balance out the remainder of the extras nicely by demonstrating the sense of intrigue, mystery, and game-playing adventure that made The Da Vinci Code so popular in the first place. --Daniel Vancini

Beyond The Da Vinci Code

The Films of Tom Hanks

The Films of Ron Howard

The Da Vinci DVDs: Decoding "The Da Vinci Code"

More About The Artist

Stills from The Da Vinci Code (click for larger image)

Code is a Swedish/American melodic Hard Rock band featuring notable performers like singer Sherwood Ball (of Sherwood Ball N Chain), former Grand Illusion men guitarist Ola af Trampe and Anders Rydholm on bass, guitars and keyboards. Trampe also holds credits with My Curse. Also includes former David Lee Roth band drummer Gregg Bissonette.

The "alarming and impassioned"* book on how the Internet is redefining constitutional law, now reissued as the first popular book revised online by its readers (*New York Times)

There's a common belief that cyberspace cannot be regulated-that it is, in its very essence, immune from the government's (or anyone else's) control. Code, first published in 2000, argues that this belief is wrong. It is not in the nature of cyberspace to be unregulable; cyberspace has no "nature." It only has code-the software and hardware that make cyberspace what it is. That code can create a place of freedom-as the original architecture of the Net did-or a place of oppressive control. Under the influence of commerce, cyberpsace is becoming a highly regulable space, where behavior is much more tightly controlled than in real space. But that's not inevitable either. We can-we must-choose what kind of cyberspace we want and what freedoms we will guarantee. These choices are all about architecture: about what kind of code will govern cyberspace, and who will control it. In this realm, code is the most significant form of law, and it is up to lawyers, policymakers, and especially citizens to decide what values that code embodies.

Since its original publication, this seminal book has earned the status of a minor classic. This second edition, or Version 2.0, has been prepared through the author's wiki, a web site that allows readers to edit the text, making this the first reader-edited revision of a popular book.

Dan Brown's international bestseller comes alive in the film The Da Vinci Code, directed by Ron Howard with a screenplay by Akiva Goldsman. Join symbologist Robert Langdon (Academy Award® Winner Tom Hanks, 1993 Best Actor, Philadelphia, and 1994 Best Actor, Forrest Gump) and cryptologist Sophie Neveu (Audrey Tautou) in their heart-racing quest to solve a bizarre murder mystery that will take them from France to England – and behind the veil of a mysterious ancient society, where they discover a secret protected since the time of Christ. With first-rate performances by Sir Ian McKellen, Alfred Molina and Jean Reno, critics are calling The Da Vinci Code "involving" and "intriguing," "a first rate thriller."

Critics and controversy aside, The Da Vinci Code is a verifiable blockbuster. Combine the film's huge worldwide box-office take with over 100 million copies of Dan Brown's book sold, and The Da Vinci Code has clearly made the leap from pop-culture hit to a certifiable franchise. The leap for any story making the move from book to big screen, however, is always more perilous. In the case of The Da Vinci Code, the plot is concocted of such a preposterous formula of elements that you wouldn’t envy screenwriter Akiva Goldsman, the man tasked with making this story filmable. The script follows Dan Brown’s book as closely as possible while incorporating a few needed changes, including a better ending. And if you’re like most of the world, by now you’ve read the book and know how it goes: while lecturing in Paris, noted Harvard Professor of Symbology Robert Langdon (Tom Hanks) is summoned to the Louvre by French police to help decipher a bizarre series of clues left at the scene of the murder of the chief curator. Enter Sophie Neveu (Audrey Tautou), gifted cryptologist. Neveu and Langdon team up to solve the mystery, and from there the story is propelled across Europe, ballooning into a modern-day mini-quest for the Holy Grail, where secret societies are discovered, codes are broken, and murderous albino monks are thwarted… oh, and alternative theories about the life of Christ and the beginnings of Christianity are presented too, of course. It’s not the typical formula for a stock Hollywood thriller. In fact, taken solely as a mystery, the movie almost works--despite some gaping holes--mostly just because it keeps moving. Brown’s greatest trick was to have the entire story take place in one day, so the action is forced to keep moving, despite some necessary pauses for exposition. As a screen couple, Hanks and Tautou are just fine together but not exactly memorable; meanwhile Sir Ian McKellen’s scenery-chewing as pivotal character Sir Leigh Teabing is just what the film needed to keep it from taking itself too seriously. The whole thing is like a good roller-coaster ride: try not to think too much about it--just sit back and enjoy the trip. --Daniel Vancini

Stills from The Da Vinci Code (click for larger image)