Nola's

Also the ghost element seems more like the "Ghost" movie and not some horror flick, especially when the ghost of Nola's deceased mother enters the picture.

Jackie K. Cooper: The Strangers of Montagu Street: One of Karen White's Best Novels Jackie K. Cooper 2011

Also the ghost element seems more like the "Ghost" movie and not some horror flick, especially when the ghost of Nola's deceased mother enters the picture.

Jackie K. Cooper: The Strangers of Montagu Street: One of Karen White's Best Novels Jackie K. Cooper 2011

Born Sabato Rodia in 1879, near Nola, Italy, the folk-artist-to-be grew up watching that town's Giglio festival, where six-story ceremonial towers get paraded through the streets every June to commemorate the kidnapping and return of St. Paulinus, Nola's fifth-century bishop.

The Watts Towers, Sturdy Survivors Arnie Cooper 2011

Eventually, he would acquire the franchise rights for Ruth's Chris Steak Houses in California, Arizona, and Hawaii, and he would also purchase other restaurant franchises, including four Z'Tejas Grills and one Nola's Mexican Restaurant.

P.F. Chang Is NOT Chinese Ron Buckmire 2008

How is Nola's relationship to Eloise similar to 47's relationship to

47 by Walter Mosley: Questions 2005

In that regard, it's telling that the film ends with an image of Nola's daughter her real one as her father drives her home.

12/13: The Brood Ed Howard 2007

As it turns out, he's right, and Nola's anger grows into a brood of vicious "children" who respond to the vagaries of her mood by turning on the people she's angry with and killing them.

Archive 2007-12-01 Ed Howard 2007

Maybe the film's real horror is the idea subtly buried at its core, that Nola's monstrous "children" are just physically deformed variations on the internal warping of Nola's real child, who is being shaped and hurt by her parents in the same way that Nola was by her own.

12/13: The Brood Ed Howard 2007

Maybe the film's real horror is the idea subtly buried at its core, that Nola's monstrous "children" are just physically deformed variations on the internal warping of Nola's real child, who is being shaped and hurt by her parents in the same way that Nola was by her own.

Archive 2007-12-01 Ed Howard 2007

In that regard, it's telling that the film ends with an image of Nola's daughter her real one as her father drives her home.

Archive 2007-12-01 Ed Howard 2007