These "officer profiles" are an effort to keep a log of abuses of power of individual officers. If there is an officer that should be listed here, if a correction to the info we have needs to be made, or if you'd like to report abuses of power by a particular officer, contact us or submit a report of police abuse to CopWatch with the online form. *Please note that officers often rotate around- their position and the agency they work for may change, but we still want to document what they have done- as a cop, detective, coroner, etc. TELL US ABOUT A COP HEREOne of the more interesting high-complication watches for Jaeger-LeCoultre this year was the Reverso Répétition Minutes à Rideau. The oddly named watch (if I see more than one accent mark my eyes start to glaze over) actually just translates into minute repeater via curtain. Being a Reverso the watch has two dials, one of which is covered with a sliding metal curtain. Using your finger, you push the curtain aside to reveal one of the two watch dials.

The curtain also activates the minute repeater complication. What Jaeger-LeCoultre did in the the 'Reverso Curtain' is literally take two relatively thin movements and place them back to back. The images here show you each of them and how they fit together. There is one crown to control them both and they are manually wound. It sounds as though JLC considers them one movement and together they are called the Jaeger-LeCoultre Caliber 944. The movement is hand assembled and decorated, and it looks pretty darn nice at that. Both movements are presented via open face dials for you to view with the blued steel hour and minute hands generally seen in the Reverso range. The decor of the movements is done in a nice, traditional manner. JLC could have gone more modern with the design of the movements but I feel as though they kept it classic because this watch is part of the Reverso collection's 80th anniversary. This is also a good example of quasi art deco styling that you'll find in a lot of Jaeger-LeCoultre watches.

The Reverso watch case is in 18k white gold and is 35mm wide by 55mm tall. The curtain takes up a lot of it and actually wraps around much of the case. When moved out of the way on the front it moves over to cover the opposite watch dial. The action is smooth and I think the mini metal curtain is pretty neat. The effect of "revealing" the dial is a nice, poetic touch. If you were to wear the watch with the curtain side faced up, it would add a sense of mystery as people only see the look of the Venetian style blind on the face of the watch. I should note that the curtain is spring loaded so that the minute repeater side is only visible when you actively push the curtain out of the way. The other side of the watch has a very nice series of engravings around the dial. They are almost art deco in appearance and start with clos du Paris pyramids on the movement plate itself. Further engravings surround the watch face and are quite interesting to see. I haven't seen anything quite like that before and find it attractive.

While the JLC Reverso Repetition Minutes a Rideau doesn't really break a lot of ground technically, it is a fun and complex watch strategically suited to appeal to collectors and fans of the Reverso collection. I like the watch a lot and I think JLC did a good job. Not sure about price but the production run will be limited to 75 pieces. - mechanical manually-wound movement, Jaeger-LeCoultre Caliber 944, crafted, assembled and decorated by handblackout curtains wilko - 21,600 vibrations per hourcurtains and blinds nantwich - 35-hour power reservelafayette back tab window curtain panel - thickness: 5.89 millimeters, repeater module: 1.85 millimetersmade to measure curtains uxbridge

- 1,000 hours chronometer test - hours and minutes on both sides - open-worked front dial revealing the repeater mechanism with ruthenium coated bridges - open-worked back dial revealing the bridges of the movement - 18-carat white gold - height: 55 millimeters - width: 35 millimeters - thickness: 12 millimeters - two sapphire crystals, hardness 9 out of 10digger curtains tesco - water-resistance to 3 bartarget mudhut curtains - alligator leather with 18-carat white gold pin bucklecustom made curtains dunelm - Q2353520, 75-piece limited editionThe requested page title contains invalid characters: "%E2". Return to Main Page. First Name (or first few letters)Last Name (or first few letters) Search

Call us at 888.249.4155 8 am-9 pm CT, 7 days a week or send us a messageCANNES, France – The morning of the day before the 69th Cannes Film Festival dawned dark and overcast, as if the skies were prepared to cry over the selection of films on tap. Whether they will be predominantly tears of joy or of sorrow remains, as always, to be seen.A similar ambivalence can be read into Cannes’ 2016 poster, just installed above the Palais des Festivals where the red carpet screening for Woody Allen’s “Café Society” starring Jesse Eisenberg, Kristen Stewart and Steve Carell opens the event on Wednesday night. Designed using stills from Jean-Luc Godard’s classic “Contempt,” the image is of a man going up an enormous staircase on the outside of a pyramidal building. Is he ascending to artistic heights, or headed for sacrificial doom? Darker thoughts seem everywhere at the festival this year. Instead of its usual story featuring smiling stars arriving at the airport, the local daily newspaper Nice-Matin ran the words “High Security” on its front page followed by a two-page spread headlined “The 69th edition faces a terrorist menace.”

With France remaining under the state of emergency that began after the November Paris attacks, the city of Cannes has hired a top Israeli consultant to beef up security, but people are still worried. “I’d be happy,” Sony Pictures Classics co-president Tom Bernard told the Hollywood Reporter, “to see dogs roaming the lobby of the Carlton.”Even the billboards for forthcoming films posted around town have something of an apocalyptic air. Yes, a revolving sculpture created from enormous playing cards that advertised “Now You See Me 2” is charming, but then there was the poster for something called “Tsunami L.A.,” complete with an illustration of the world’s biggest wave smashing into Pacific Coast Highway and the head-shaking tagline “Traffic’s Gonna Be A Bitch Today.”Still, the hope for the more than 200,000 cinephile visitors (including a mind-boggling 5,000 journalists) who annually flood this resort town is that the films, starting with Allen’s record-breaking third opening night (after “Hollywood Ending” in 2002 and “Midnight In Paris” in 2011) will lighten the mood.“

Café Society” costar Stewart, who last year became the first American actress to win a César, the French Oscar, for her work in Olivier Assayas’ “Clouds of Sils Maria,” is back with another Assayas film, “Personal Shopper.”Other American pictures are also here to help, starting with a trio playing, as Allen’s is, out of competition. These include Steven Spielberg’s “The BFG,” from the beloved Roald Dahl book, Shane Black’s neo-noir “The Nice Guys” starring Russell Crowe and Ryan Gosling, and the Jodie Foster-directed “Money Monster,” with George Clooney.American films in actual competition include Jim Jarmusch’s “Paterson,” Sean Penn’s “The Last Face,” a love story set in the world of African NGO’s starring Javier Bardem and Charlize Theron, and, perhaps most intriguing, Jeff Nichols’ “Loving,” starring Joel Edgerton and Ruth Negga in the based-on-fact story of the Virginia couple whose case led the Supreme Court to legalize interracial marriage.

Nichols, on a roll after “Midnight Special,” is a Cannes favorite: His “Mud” was also in competition and an image from his “Take Shelter” is the poster for this year’s Critics’ Week, one of the festival’s parallel events.One of this year’s most anticipated American films ended up in Cannes’ other parallel event, Directors’ Fortnight. That would be Laura Poitras’ documentary “Risk,” the follow-up to her Oscar winning “Citizenfour.” While the earlier film focused on whistle blower Edward Snowden, the new one is a look at another disturber of the peace, Wikileaks’ Julian Assange.There are, of course, a lot more than American films at Cannes; in fact, the festival counts works from 28 countries in the main event. These include new competition efforts from venerable auteurs like Spain’s Pedro Almodovar (“Julieta”), Belgium’s the Dardennes brothers (“The Unknown Girl”), Britain’s Ken Loach (“I, Daniel Blake”) and a late addition, Iran’s Asghar Farhadi (“The Salesman”).

The latest from Japanese master Kore-eda Hirokazu (“After The Storm”) ended up in the sidebar Un Certain Regard section.Gaining in stature and interest every year is Cannes Classics, devoted to films on film and new restorations of, well, classics. This year’s more than 40 programs range from a restoration of the Merchant/Ivory “Howards End” to Bertrand Tavernier’s three-hour-plus tribute to his country’s films, “Voyage Through French Cinema.”One of Cannes’ most fascinating elements are the irrepressible things that happen off screen, the sheer energy of so many people from so many parts of the world coming here for so many reasons, a situation reflected in the variety of unexpected emails the event produces.The Thai film industry, for instance, wanted me to know that a Thai royal princess would be here for a promotional event it describes as “Thaiconic.” Luxury brands like Tiffany, Kering and Jaeger-LeCoultre, the maker of “haute horlogerie” watches, all have events here.