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Sam Querrey gave the United States a winning start in its bid to reach Saturday's final at the World Team Cup.
 Querrey beat Jan Hajek 6-3  7-5 on Thursday to put the U.S. 1-0 up against the Czech Republic in the Red Group and remain unbeaten in his three singles this week.
 "So far so good " said Querrey. "I thought today was the best I played out of the three matches. So I'm pretty excited."
 Hajek claimed the first break  when Querrey ended a long rally with a forehand error  to go 3-1 up but the American player responded by winning the next five games in a row to take the opening set.
 Both players saved a break point late in the second set before Querrey broke at 6-5  converting his third match point.
 "I've been working this week to try and hit my forehand a little bigger. I felt I did that today " said Querrey. "I felt pretty much anytime I got a forehand  I was able to take control of the point."
 Querrey said his win takes the pressure off the U.S. ahead of Friday's matches.
 "A little bit  yes. I think John (Isner) can go out there and play a little more freely  which is a good thing " Querrey said. "When we have the lead  you can swing away a little bit more than if we were 1-0 down.
 "Then  the Bryan brothers  we expect them to win every match. Hopefully  they are going to do that again."
Sam Querrey

While “On Chesil Beach” deviated from the source material in effective ways  Mr McEwan seemed reluctant to do the same with “The Children Act”. Here  the internal narrative is simply layered onto a new medium. It doesn’t work (although Emma Thompson’s performance makes it watchable).  Fiona Maye (Ms Thompson)  is a well-respected judge  arrives at home to  her  husband Jack (Stanley Tucci) telling  her  that he would like to have an affair  and that Fiona  if  she  cares about him  will tolerate it. This leads to the film’s single flashback: as  she  lays awake at night   her  imagination reaches back to happier times and to a moment of pure joy when he surprised  her  with a new piano. Unlike in “On Chesil Beach”  the flashback here adds little to illuminate their predicament: the viewer is still left guessing as to how  she  ended up married to an American professor  or what their love was like at its peak.
The marriage crisis exacerbates another one  this time in  Fiona ’s working life.  She  specialises in extraordinarily hard cases involving children  often with a religious element.  Her  newest case is an urgent one: Adam  a 17-year-old Jehovah’s Witness with leukaemia  is refusing a blood transfusion that could save his life.  Fiona  must decide his corporeal and perhaps spiritual fate.  She  has been able to dispassionately dispatch such cases in the past  but since  her  husband’s disruption of their marriage   her  confidence is faltering.
 Her  interest in the boy then  so steadfast in his own faith  is both professional and personal.  Fiona  takes the unusual step of visiting him in the hospital  and under Richard Eyre’s thoughtful direction  the camera offers extreme close-ups of both characters  allowing the audience to search their eyes for meaning.  Fiona  is looking for cracks in Adam’s guarded wall of faith. The viewer is looking for the real motive behind  hers .
Unfortunately  it never quite appears.  Her  judicial ruling comes suddenly  ending its fascinating inquiry into the nature of faith and connection before it has even begun. Adam lives but becomes disillusioned with his faith and begins stalking Fiona  trading one obsession for another. Mr Eyre seems to be looking for some of the same notes that worked so well for him in “Notes of a Scandal” (2006)  but this is not a lurid tale  and efforts to make it one—with wistful glances and tense  longing strings on the soundtrack—seem out of place. For this conflict to have dramatic heft  the viewer needs to understand  Fiona  better.
Perhaps a screenwriter with more distance from the original material would have been willing to radically reshape the novel  offering more backstory or drawing  her  decision out for dramatic impact to make the story less reliant on  her  inner life. “On Chesil Beach” did not call for such revisions  but “The Children Act” does. It shows that every adaptation is a unique case  even two self-adapted novels from the same hand. Some cannot simply be transposed onto the screen. Most of all  however  it shows that the writer who knows the material best is not always the one best placed to make the hard choices that can turn a great novel into a great film.
Fiona Maye

On Friday  Sen. Dianne Feinstein (D-CA) said she will introduce legislation that would raise the minimum age requirements for purchasing a rifle from a gun dealer.
 Feinstein 's declaration comes after 17 people were killed Marjory Stoneman Douglas High School in Parkland  Florida on Wednesday.
 Feinstein 's proposal received a mixed reaction.
I plan to introduce a bill to require ALL firearms purchases from gun dealers be restricted to individuals who are at least 21 years old. If you can’t buy a handgun or a bottle of beer  you shouldn’t be able to buy an AR-15. — Sen Dianne Feinstein (@SenFeinstein) February 17  2018

Dianne Feinstein

