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Get a pre-formatted widget or badge html code with schema.org structure and seo-friendly content.
Learn about the difference between Widget and Badge here.
Each widget comes with a built-in php snippet that will load the feedback and schema markup directly into your website. Currently this method only works with PHP-based websites. HTML only sites will show the feedbacks received, but no Schema Markup will be added.
To create an aggregated widget or badge please include more than one business ID as parameter. A typical scenario would be a multi location business. You could show an aggregated badge on the homepage showing an overall count and rating from all business locations. And have individual landing pages for each location which shows the testimonials widget for the specific location only.
If you would like to do your own styling and markup you could consider the /feedbacks/get API call.
| Name | Type | Required | Example | Description |
|---|---|---|---|---|
| businessId | integer | yes | 376 | Business id (or multiple comma-separated ids.) |
| clientId | string(40) | yes | 04f78...9f9f3 | Client id is a unique user identifier provided by GetFiveStars. |
| fullVersion | integer(0,1) | no | 0 | By default it is set to 0. Full version contains entire widget code. |
| hash | string(64) | yes | bd13a40...303f3c5 | Hash is a digital request signature. Learn how to generate hash here. |
| includeSchemaOrg | integer(0,1) | no | 1 | By default schema.org tags are included. |
| widgetType | string(widget|badge) | no | 1 | By default it returns widget. |
{ "businessId": 376, "clientId": "04f78076fbfc66940169d2199af7c6698019f9f3", "hash": "5122a609fe4b55cad783546fe0b2f58031df3c26b228975ec7cda5d3c011a7ff" }
{ "widgetHTML": "<div id=\"e2wget5section\" ... <\/div>", "errorCode": 0, "errorMessage": "Success" }
| errorCode | errorMessage |
|---|---|
| -1 | Unknown error |
| 1 | Invalid hash sign |
| 2 | Invalid clientId |
| 3 | Server error - please contact support |
| 5 | This user cannot manage selected business |
| 13 | Unable to generate widget for specified businessId |


| negbin {mgcv} | R Documentation |
The gam
modelling function is designed to be able to use
the negbin
family (a modification of MASS library negative.binomial
family
by Venables and Ripley), or the nb
function designed for integrated estimation of
parameter theta
. θ is the parameter such that var(y) = μ + μ^2/θ, where μ = E(y).
Two approaches to estimating theta
are available (with gam
only):
With negbin
then if ‘performance iteration’ is used for smoothing parameter estimation
(see gam
), then smoothing parameters are chosen by GCV and
theta
is chosen in order to ensure that the Pearson estimate of the scale
parameter is as close as possible to 1, the value that the scale parameter should have.
If ‘outer iteration’ is used for smoothing parameter selection with the nb
family then
theta
is estimated alongside the smoothing parameters by ML or REML.
To use the first option, set the optimizer
argument of gam
to "perf"
(it can sometimes fail to converge).
negbin(theta = stop("'theta' must be specified"), link = "log") nb(theta = NULL, link = "log")
theta |
Either i) a single value known value of theta or ii) two values of theta specifying the
endpoints of an interval over which to search for theta (this is an option only for |
link |
The link function: one of |
nb
allows estimation of the theta
parameter alongside the model smoothing parameters, but is only usable with gam
or bam
(not gamm
).
For negbin
, if a single value of theta
is supplied then it is always taken as the known fixed value and this is useable with bam
and gamm
. If theta
is two
numbers (theta[2]>theta[1]
) then they are taken as specifying the range of values over which to search for
the optimal theta. This option is deprecated and should only be used with performance iteration estimation (see gam
argument optimizer
), in which case the method
of estimation is to choose theta so that the GCV (Pearson) estimate
of the scale parameter is one (since the scale parameter
is one for the negative binomial). In this case theta estimation is nested within the IRLS loop
used for GAM fitting. After each call to fit an iteratively weighted additive model to the IRLS pseudodata,
the theta estimate is updated. This is done by conditioning on all components of the current GCV/Pearson
estimator of the scale parameter except theta and then searching for the
theta which equates this conditional estimator to one. The search is
a simple bisection search after an initial crude line search to bracket one. The search will
terminate at the upper boundary of the search region is a Poisson fit would have yielded an estimated
scale parameter <1.
For negbin
an object inheriting from class family
, with additional elements
dvar |
the function giving the first derivative of the variance function w.r.t. |
d2var |
the function giving the second derivative of the variance function w.r.t. |
getTheta |
A function for retrieving the value(s) of theta. This also useful for retriving the
estimate of |
For nb
an object inheriting from class extended.family
.
gamm
does not support theta
estimation
The negative binomial functions from the MASS library are no longer supported.
Simon N. Wood<EMAIL_ADDRESS>modified from Venables and Ripley's negative.binomial
family.
Venables, B. and B.R. Ripley (2002) Modern Applied Statistics in S, Springer.
Wood, S.N., N. Pya and B. Saefken (2016), Smoothing parameter and model selection for general smooth models.


Schedule a meeting
Create Message
To all people planning on meeting me for open office hours, I am currently out for lunch and will be back in about 5 minutes. Further more, don't forget to come to my presentation at 5pm that talks about why I hate staying up.


{border-style px;} #ffffff;} coronavirus COVID- protein spike human respiratory salivary disease px; virus {font-family cell entry font-size gingival infection novel saliva ACE cells crevicular double; oral Elsevier SARS-CoV- TMPRSS border-color border-width cellular glands host patients presence receptor role solid; viral {font-style {font-weight Microbiol acute bold centre confirmed courier; early em; fluid high pt;} reported research resource spread transmission


Raise
Do you confirm your offer?
Fundraising:
Gross return rate:
Contract term:
{{offer.raisingAmount | currency}}
{{offer.grossReturn | percent}}
{{offer.paybackMonths}} months
5 Assets of
{{offer.raisingAmount/5 | currency}}


use Red::AST; use Red::Model; use Red::AST::Union; use Red::AST::Intersect; use Red::AST::Minus; use Red::AST::Comment; #| Represents a Select unit class Red::AST::Select does Red::AST; has Mu:U $.of; has Red::AST @.fields; has Red::AST $.filter; has Red::AST @.order; has Int $.limit; has Int $.offset; has Red::AST @.group; has @.table-list; has Red::AST::Comment @.comments; has Bool $.sub-select; has @.prefetch; method returns { do if $.of.^columns == 1 { $.of.^columns.first.type } else { Red::Model } } method args { $!sub-select ?? () !! ( $!of, $!filter, |@!order ) } method gist { do if $!sub-select { "{ self.^name }:\n" ~ [|@!table-list, $!filter, |@!order].map(*.gist).join("\n").indent: 4 } else { self.Red::AST::gist() } } method tables(::?CLASS:D:) { |(|@!table-list, |(.?tables with $!filter), callsame).grep(-> \v { v !=:= Nil }).unique unless $!sub-select } method find-column-name {} method union($sel) { my $union = Red::AST::Union.new; $union.union: self; $union.union: $sel; $union } method intersect($sel) { my $union = Red::AST::Intersect.new; $union.intersect: self; $union.intersect: $sel; $union } method minus($sel) { my $union = Red::AST::Minus.new; $union.minus: self; $union.minus: $sel; $union } method as-sub-select { $!sub-select = True; self; } method as-select { $!sub-select = False; self; }


Dashboard
Security
Client Data
Client Leads
Staff Data
Salary Bonus
Time Sheet
Expenses
Targets
Projects
Training
Reports
Events
Notice Board
Logout
Hello Michael
clients leads-roses PLC
add/edit/delete
staff data
surname
other names
address
city/state
postcode
country
phone no
email
emp start date
emp end date
bank name
account name
bank sort code
bank account no
next of kin
surname
other names
address
city/state
postcode
country
phone no
email
relationship
ref taken
reference
surname
other names
address
city/state
postcode
country
phoneno
email
ref date
contact-email/phone call
reference
Ready to Leave?
×
Select "Logout" below if you are ready to end your current session.


CSS (Cascading Style Sheets) is how you add styling to an HTML document.
Bootstrap is a CSS Framework for developing responsive and mobile-first websites.
To learn more about Bootstrap, you can visit the documentation here and also view a cheatsheet here.
Ng-Bootstrap is a library of Angular widgets built using Bootstrap 4 with no dependencies on 3rd party JavaScript. You can visit the documentation here.
To learn more about CSS, you can visit the mozilla docs here, and view some guides and cheatsheets here.
Use selectors to set CSS styles to something like this:
selector: { property: value; }
There is a good reference for selectors here but the big ones are:
.myclass
for elements with class="myclass"
#myid
for elements with id="myid"
element
for elements like p
, div
, etc.*
for all elements
On any webpage, the browser renders every element as a rectangular box according to the CSS basic box model.
You can read more about the box model from the
mozilla docs here.
But basically, every element has a content
area, a padding
area, a border
area, and a margin
area, each of which can be adjusted.
Flex is a CSS module that tries to efficiently distribute items and space within a container, even when their sizes are unknown and/or dynamic. Flexbox is typically used in components of an application, or for small scale layouts. You can also learn more at this flexbox cheatsheet.
Grid is a CSS module that helps in designing two-dimentional grid based UIs. It is good for designing overall page layouts. You can also learn more at this grid cheatsheet.


{{< layout-referee}} {{$pageTitle}}Confirming someone's identity{{/pageTitle}} {{$header}}
We'll ask you a few questions to check you know the person making this application. We'll also show you a passport photo.
If you're unable to confirm some details, please continue to the end. We'll look into any issues with the application.
{{#input-submit}}{{/input-submit}} {{/form}} {{/ hmpo-partials-form}} {{/content}} {{/ layout-referee}}


Pipes, Schwartz lift Green Bay past Wisconsin-Stout 115-64
by The Associated PressGREEN BAY, Wis. (AP) — PJ Pipes and Cody Schwartz scored 17 points apiece as Green Bay romped past Wisconsin-Stout, a Division III school, 115-64 on Saturday night.
Amari Davis added 15 points for the Phoenix, Schwartz grabbed 10 rebounds and Josh McNair had 13 points and seven rebounds for Green Bay (1-1).
The Phoenix, which tied the record for most points scored in the Division I era, had seven players in double figures as all ten who suited out put points on the board.
Kyle Jackson had 10 points and seven rebounds for the Blue Devils. Luke Geiger added 10 points. Cliff McCray had six rebounds.
Green Bay takes on New Mexico on the road on Wednesday.
___
For more AP college basketball coverage: https://apnews.com/Collegebasketball and http://twitter.com/AP_Top25
___
Elements of this story were generated by Automated Insights, http://www.automatedinsights.com/ap, using data from STATS LLC, https://www.stats.com
The Associated Press


SHINE A film review by Michael John Legeros Copyright 1997 Michael John Legeros
(Fine Line) Directed by Scott Hicks Written by Jan Sardi. based on a story by Scott Hicks Cast Geoffrey Rush, Armin Mueller-Stahl, Noah Taylor, Lynn Redgrave, Googie Withers, John Gielgud, Sonia Todd, Alex Rafalowicz, Nicholas Bell MPAA Rating "PG-13" Running Time 105 minutes Reviewed at The Rialto, Raleigh, NC (18JAN97)
==
Another overrated underachiever from last year, SHINE is the true story of David Helfgott, a classical pianist from Australia who spent a double decade in a mental institution before returning to the ivory fold. Three actors play the prodigy, with Geoffrey Rush's adult arguably the most memorable of the lot. (He doesn't even use a hand double!) His stammering, seen-RAIN-MAN-one-too-many-times shtick, however, is far less affecting than it should be. Blame better movies like MY LEFT FOOT, whose tortured heroes were a world more-accessible than this one. (Helfgott's story is incomplete and, at times, incompre- hensible. More than once I wondered if I was watching a dream sequence.) Of the other actors, Armin Mueller-Stahl displays subtle sadism as Helfgott's demanding, narcissistic father. Even better is John Gielgud's London mentor, the one character who comes the closest to showing us the soul of a performing musician.
Grade: B-
-- Mike Legeros - Raleigh, NC, USA, Earth<EMAIL_ADDRESS>(h) -<EMAIL_ADDRESS>(w) I'm also on the Web! http://www.pagesz.net/~legeros/
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


DELICATESSEN (1991) A Film Review by Ted Prigge Copyright 1997 Ted Prigge
Directors: Jean-Pierre Jeunet and Marc Caro Writers: Giles Adrien, Jean-Pierre Jeunet, and Marc Caro Starring: Dominique Pinon, Jean-Claude Dreyfus, Marie-Laure Dougnac, Chick Ortega, Jean-Francois Perrier, Silvie Laguna, Edith Ker, Karin Viard, Anne-Marie Pisani, Ticky Holgado, Pascal Benezech, Marc Caro, Rufus
With "Alien: Resurrection" out just now and all, I thought I'd FINALLY see "Delicatessen," an earlier flim by its director, Jean-Pierre Jeunet, who had co-directed it with Marc Caro, but had not done the same with the new "Alien" film (bringing about some tension over whether or not he was the one with talent - by the way, it was good). "Delicatessen" is an amazing film, filled with amazing style, a wonderful off-beat tone, and some bits of satire which work with the film instead of being apart from it.
"Delicatessen" takes place in a post-apocalyptic future where there's apparently a shortage of meat. We meet a ex-clown turned wanderer named Louison (Dominique Pinon, who was Vriess in the new "Alien" film), who finds a room at an apartment building with a butcher shop in it, run by, well, the butcher: Clapet (Jean-Claude Dreyfus). He gives him a job as his assistant, which basically means he goes around painting and doing odd jobs about the bizarre building. Little does he know, this is a very temporary job as he will be chopped up after a week or so, and fed to the apartment dwellers (we find this out in the first scene).
The film chronicles his going-ons in the apartment, as well as that of the inhabitants. Everyone in the building is eccentrically weird in one way or the other. For instance, there's an old man who lives in an apartment filled with water so frogs and other amphibians can live with him. There's also the aristocratic suicidal Aurore (Silvie Laguna), who is always setting up overly-elaborate death traps for herself which never work out (one has the old electrical appliance dropped into a bathtub).
The only ray of sun-shine in the gloomy, bizarre building is that of the mousy Julie Clapet (Marie-Laure Dougnac), daughter of the butcher. She and Louison immeadiately hit it off, and start a kind of bittersweet romance which never gets really sexual or anything, but is never overly-corny. There are great scenes they have together, including one where they play a duet together: she on the cello, and he on a saw (it sounds really cool too), and they become a symbol of light in the gloomy post-apocalyptic world.
As the film goes on, the need for meat gets worse, and soon other people are being hacked for the good of the rest, mostly since Louison is an excellent worker. A subplot involving a group of renegades who live underground is also introduced, and they struggle to stop Clapet from killing more people. The climax is wonderfully long, and incredibly elaborate, bringing the film to a very satisfying conclusion, but not becoming overly grand.
One of the many great things about this film is how it refuses to get off on its gimmick. The cannibalism idea is one that could bring about a huge gorefest a la "Dead Alive." While this is not a bad idea, I really admired how un-gory this film really is. Jeunet and Caro barely show the killings, making it more effective. Sure, there's some gore in it, but it never glamorizes or over-does it.
The style is the best thing about this film, even though it is jam-packed with wonderful things. It is incredibly off-beat, and shows us some truly bizarre characters, as well as some wonderfully weird and imaginative scenes. One of the best parts of this film deals with sex going on, which is then juxtaposed through certain other scenes of people doing things, all in rhythm with the other, and ending in a wonderfully inspired climax (i.e. Julie playing her cello in synch with everyone else, and resulting in her breaking her bow). And one scene dealing with the grandmother is truly classic.
I also admired how sweet and gentle it could be. While its style is so offbeat that even the Coen brothers would drop their jaws, there are moments and scenes that are just wonderfully calm. There's a scene towards the beginning where Louison is unpacking which is strangely melancholy, which is one thing this film usually isn't. And the scenes between Louison and Julie are wonderfully bittersweet and strangely touching. Pinon and Dougnac have great chemistry, which helps.
A special note should be made to Jean-Claude Dreyfus who is absolutely awesome as Clapet. While being hysterical and all, he also shows some truly human signs in quieter scenes, and just does a great job with the role. Another note should be made to Chick Ortega who steals scenes as a freaky mailman with a crush on Julie and a penchant for shooting anything subversive.
 It's hysterical, moving, and just jaw-dropping to watch visually. There are some minor flaws (the rebel underground subplot really never goes anywhere), but overall, the film is more than a rewarding experience, and a symbol of sheer filmmaking craftsmanship.
MY RATING (out of 4): ***1/2
Homepage at: http://www.geocities.com/Hollywood/Hills/8335/
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Jenkins : Find builds currently running that has been executing for more than N seconds
Created by Unknown User (batmat), last modified on Feb 09, 2015
int MAX_ALLOWED_DURATION_IN_SECONDS = 3600 * 6 // 6 hours
def busyExecutors = Jenkins.instance.computers
.collect {
c -> c.executors.findAll { it.isBusy() }
}
.flatten() // reminder: transforms list(list(executor)) into list(executor)
def ok = true
println "Busy Executors list"
busyExecutors.each { e ->
println e ;
int durationInSeconds = (System.currentTimeMillis() - e.executable.getTimeInMillis())/1000.0
if(durationInSeconds > MAX_ALLOWED_DURATION_IN_SECONDS )
{
ok = false;
}
println "\t duration=$durationInSeconds"
println ""
}
println "Done"
return ok


Dock Spawn TS is a Typescript fork of Dock Spawn, a Docking Framework for HTML.
It was originaly developed by https://github.com/coderespawn
Dock Spawn is a web based dock layout engine that aids in creating flexible user interfaces by enabling
panels to be docked on the screen similar to Visual Studio IDE
Create complex layout through code or during runtime by docking panels on the screen.
Create floating dialog boxes by undocking a panel. Floating dialog boxes could be dragged/resized
Dock panels within other existing panels to place them in a tab control. Tabs can be undocked back into floating dialogs
Dock Spawn TS is written in Typescript. Start by importing the dock-spawn library into your project
import { DockManager } from "./js/DockManager.js"; import { PanelContainer } from "./js/PanelContainer.js"; import { PanelType } from "./js/enums/PanelContainerType.js";
Create a dock manager DIV element in the html page. This div would be converted to a dock manager, which would enable panels to be docked on to it. There is no restriction on the size of this div. It could take up the entire screen or have a fixed size
let dockManager = new DockManager(document.getElementById('my_dock_manager')); dockManager.initialize();
Existing elements in the DOM can be converted to Dock Panels which would enable them
to be docked on to the dock manager created above. A dock panel wraps the provided content element
around a frame with a title bar and a close button.
You can also provide some options in a config object as a second parameter to the DockManager constructor.
There are 2 different types for PanelContainer. "document" and "panel".
let editor1 = new PanelContainer(document.getElementById("editor_div"), dockManager, null, PanelType.document); let toolbox = new PanelContainer(document.getElementById("toolbox_div"), dockManager, null, PanelType.panel); // ...
Now that the panels are created, dock them on the dock manager. Initially, the dock manager contains a docked view, called the Document Manager which is the central area of the dock manager. Get a reference to the document manager node
let documentNode = dockManager.context.model.documentManagerNode;
Using this as a point of reference, lets dock the Solution Explorer to the left, taking up 20% of the space
let solutionNode = dockManager.dockLeft(documentNode, solution, 0.20);
Dock the outline node inside the Solution Explorer (fill mode) to create a tabbed interface with these two panels
let outlineNode = dockManager.dockFill(solutionNode, outline);
Notice the first argument in dockFill method is solutionNode, indicating that this is relative to the Solution Explorer. This way, a dock hierarchy of arbitrary complexity can be created.
let editor1Node = dockManager.dockFill(documentNode, editor1);Its a good idea to dock dominant panels (e.g. the Editor panel in an IDE) in the Document Node with fill mode so that the documents are displayed as tabs in the document manager
During runtime, dock panels can be undocked from their positions into floating dialog boxes, which can be dragged/resized and docked in another location
You can also create dialogs directly from PanelContainers. This will create a Dialog at x:50 and y:70
dockManager.floatDialog(infovis, 50, 70);
// Convert a div to the dock manager. Panels can then be docked on to it let divDockContainer = document.getElementById('dock_div'); let divDockManager = document.getElementById('my_dock_manager'); dockManager = new DockManager(divDockManager); dockManager.initialize(); // Let the dock manager element fill in the entire screen window.onresize = () => { dockManager.resize( divDockContainer.clientWidth, divDockContainer.clientHeight ); }; window.onresize(null); // Convert existing elements on the page into "Panels". // They can then be docked on to the dock manager // Panels get a titlebar and a close button, and can also be // converted to a floating dialog box which can be dragged / resized let solution = new PanelContainer(document.getElementById("solution_window"), dockManager); let properties = new PanelContainer(document.getElementById("properties_window"), dockManager); let toolbox = new PanelContainer(document.getElementById("toolbox_window"), dockManager); let outline = new PanelContainer(document.getElementById("outline_window"), dockManager); let state = new PanelContainer(document.getElementById("state_window"), dockManager); let output = new PanelContainer(document.getElementById("output_window"), dockManager); let editor1 = new PanelContainer(document.getElementById("editor1_window"), dockManager, null, PanelType.document); let editor2 = new PanelContainer(document.getElementById("editor2_window"), dockManager, null, PanelType.document); editor2.hideCloseButton(true); let infovis = new PanelContainer(document.getElementById("infovis"), dockManager); // invisible Dialog has no size, so size it manually infovis.width = 600; infovis.height = 400; // Dock the panels on the dock manager let documentNode = dockManager.context.model.documentManagerNode; let outlineNode = dockManager.dockLeft(documentNode, outline, 0.15); dockManager.dockFill(outlineNode, solution); dockManager.dockDown(outlineNode, properties, 0.6); let outputNode = dockManager.dockDown(documentNode, output, 0.2); dockManager.dockRight(outputNode, state, 0.40); dockManager.dockRight(documentNode, toolbox, 0.20); dockManager.dockFill(documentNode, editor1); dockManager.dockFill(documentNode, editor2); dockManager.floatDialog(infovis, 50, 50);


Darkness of Dawn:
You hear what seems to be a human voice emanate from the shining blue sphere.
"I am the Darkness of Dawn -- the hidden exit of the Order of Dawn.
To access my functions, you must confirm your identity.
If you have already received the permission of Order of the Dawn, you will be able to pass through... Do you wish to gain access now?
Access the Darkness of Dawn.
Move later.


|
Groovy Documentation | |||||||
| FRAMES NO FRAMES | ||||||||
| SUMMARY: NESTED | FIELD | PROPERTY | CONSTR | METHOD | DETAIL: FIELD | PROPERTY | CONSTR | METHOD |
java.lang.Object grails-app.controllers.ReportEditorMain.ReportEditor.ReportController
class ReportController
Controller for creating, editing, updating and deleting Reports
| Property Summary | |
|---|---|
def |
actionSelect
Executes actions for one or more reports |
def |
approve
sets status of an reports to "approved" |
def |
articleService
|
def |
autocomplete
AutoComplete for report. |
def |
cancel
Action exit. |
def |
close
sets status of a report to "closed" |
def |
copy
Copies a Report |
def |
create
Create a new Report |
def |
display
Show HTML-Representation of a Report for the frontend |
def |
edit
sets status of an article to "closed" |
def |
index
|
def |
list
Shows a List of all reports |
def |
open
sets status of an report to "development" if the report was closed before |
def |
pdfExportService
|
def |
reportService
|
def |
save
Saves a new report after creating |
def |
searchFilter
controller for searchable plugin |
def |
show
Show values of a Report |
def |
toPdf
Export Report to PDF |
def |
update
Update a Report |
def |
validateReport
|
def |
validatorService
|
def |
xml
Export Report to XML |
| Constructor Summary | |
ReportController()
|
| Method Summary |
|---|
| Methods inherited from class java.lang.Object | |
|---|---|
| java.lang.Object#wait(long), java.lang.Object#wait(), java.lang.Object#wait(long, int), java.lang.Object#equals(java.lang.Object), java.lang.Object#toString(), java.lang.Object#hashCode(), java.lang.Object#getClass(), java.lang.Object#notify(), java.lang.Object#notifyAll() |
| Property Detail |
|---|
def actionSelect
def approve
def articleService
def autocomplete
def cancel
def close
def copy
def create
def display
def edit
def index
def list
def open
def pdfExportService
def reportService
def save
def searchFilter
def show
def toPdf
def update
def validateReport
def validatorService
def xml
| Constructor Detail |
|---|
ReportController()
Groovy Documentation


See {% if data['view'] == 'you' %}your{% else %}the {% if data['party'] == "defendant" %}defendant{% else %}claimant{% endif %}'s{% endif %} response to the order
{% if data['view'] == 'them' %} {% if data['done'] == 'done' %}The {% if data['party'] == "defendant" %}defendant{% else %}claimant{% endif %} has finished uploaded their documents.
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| File 1 |
Emails.pdf
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Photo 1.jpg
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| File 3 | Photo 2.jpg | {{ now | date('subtract', 4, 'days') | date }} |
| File 4 |
Contract.pdf
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{% if data['view'] == 'you' %}Your{% else %}Their{% endif %} witness statements |
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| Tim Howard | Witness statement 1.pdf | {{ now | date('subtract', 8, 'days') | date }} |
| James Watts | Witness statement 2.docx | {{ now | date('subtract', 8, 'days') | date }} |
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| Expert report | Expert report.pdf | {{ now | date('subtract', 3, 'days') | date }} |
| Responses to queries | Responses.pdf | {{ now | date('subtract', 1, 'days') | date }} |
Additional information requested by the court
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| File 1 | Photo.png | {{ now | date('subtract', 5, 'days') | date }} |
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TUCKER: THE MAN AND HIS DREAM A film review by Mark R. Leeper Copyright 1988 Mark R. Leeper
Capsule review: Francis Ford Coppola and Lucasfilm in top form bring to the screen the story of automotive legend Preston Tucker. The film is a tribute to American creativity and a lament about a system that wastes genius. Jeff Bridges refreshingly plays that increasingly rare hero of the screen, a man of genius. Rating: +3.
Okay, I admit it. I like stories about engineers and engineering feats. My favorite war film is probably DAM BUSTERS. I liked THE RIGHT STUFF a lot, even if it in some ways trivialized the space program. I like tributes to intelligence and ingenuity, particularly if the ingenuity is in something other than a better way to clout someone on the head or drive a car in a car chase. It is about time filmmakers recognized that some audiences respect and have interest in other talents than those--perhaps some skills that can't be tested in a video game. The problem is that videogame skills are easy to make exciting on a screen. Intelligence, drive, and vision really require a good script. Francis Ford Coppola's TUCKER: The Man and His Dream has a good script. It is the first film I have seen since THE RIGHT STUFF that has a hero I would call heroic. Part of the reason is that both films are about true pieces of history, but also that both portray a sort of American engineering optimism of the 1940s and 1950s that seems to be very rare today.
TUCKER is the biography of Preston Tucker (enthusiastically played by Jeff bridges), who had visions of creating a car of superior design but who was brought down by the system in a true story that could have come from an Ayn Rand novel. It shows the design and the building of the Tucker--a futuristic car that the entrepreneur wanted to build in the years following World War II. This film is the anecdotal story of how Tucker assembled a design team, financed the project, acquired a factory, and sold the idea of the car to the public, and finally of the events that led to Tucker's name *not* becoming a household word.
A film about creativity should be creative and TUCKER is, in a lot of different ways. The film starts out as a public relations film for the Tucker Motor Company and with no discernible boundaries, segues into the real story of the film. Particularly creative are the ways in which the film visualizes telephone conversations. And even with the creative photography, TUCKER creates a period feel.
And speaking of imaginative things never done before, Coppola manages to turn Martin Landau's character (Abe) into someone likable and sympathetic. With the exception of an abortive effect during the second season of SPACE: 1999, no one has ever tried, much less succeeded, at making this wooden actor seem likable. Landau even looks the part, or at least the type, something done by no one else major in this film, as Coppola seems intentionally to tell the audience. No matter--his characters embody a spirit that transcends physical resemblance. Also occasionally they say things that are intended more for 1988 ears, but always to make a point well-taken.
TUCKER: THE MAN AND HIS DREAM is the best new film of 1988. Rate it a +3 on the -4 to +4 scale.
Mark R. Leeper att!mtgzz!leeper<EMAIL_ADDRESS>The review above was posted to the
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