The great surprise about him is his grin

The Picture Porter from Digital Foci is a portable picture viewer that provides storage for digital photos, music and video files, and data files. It's a hard drive with the ability to show slides and play music and videos. It also can connect directly to a television for output on the larger screen.Most Popular CBS Blogs5 Reasons Using a Debit Card is Dangerous Shriver, Schwarzenegger Former Home for Sale Save Money: 10 Weird Ways6 Ways to Never Pay an ATM Fee AgainBoost Your Social Security Payout By $100,000It's able to read CF I/II, MD, SM, MMC, SD cards, mini SD, Memory Sticks, MS PRO, MS Duo, and MS PRO Duo memory cards. It can store and display JPEG, TIFF, BMP, and RAW images and provides a portable hard drive/photo album to download photos so cards can be emptied and used again. There are two models, one with a 20GB hard drive and another with 40GB. The two-inch LCD color screen has a backlit resolution of 558 5 234 pixels, and the overall size is 5.2 5 2.8 5 1.2 inches. The music files that can be played on the Picture Porter include MP3, WMV, AAC, and WAV. The video formats include MPEG1, MPEG4, MJPEG, and DivX 5.x. The USB connection that lets you download media and data files is the faster 2.0 speed. He is no Daniel Day-Lewis, another reedy Brit who morphed from the scrawny, handicapped Christy Brown in "My Left Foot" into an utterly believable Hawkeye, the echt frontiersman in "The Last of the Mohicans." Fiennes lacks that physicality. He is rigged for other things. He's rigged for the title character in "Onegin," the film version of the Pushkin classic Rosetta Stone Language directed by his sister, Martha, about a tortured Russian aristocrat. He's rigged for the adulterous Maurice Bendrix in the film version of Graham Greene's "The End of the Affair," for Dennis Cleg, the severe schizophrenic in the film version of Patrick McGrath's "Spider," for the driven Count Laszlo Almasy in "The English Patient." He's rigged rather well for Justin Quayle, too. Fiennes carries a fragile beauty. When he tells J. Lo. in "Maid in Manhattan" that she's beautiful, she replies, "So are you." The great surprise about him is his grin. It's a sweet, seditious thing that reminds you of your kid brother. It's a huge event that shatters all of the gorgeous planes on his face and, for a moment, liberates you from his blue eyes. Fiennes rolls them when the word "tortured" is used to describe his roster of characters. "I know, I know, I've had this all day," he says at the end of a flood of interviews. "I hate this word. I don't see them as tortured. I see them as people. I suppose I'm drawn to the chance to show the complexity at the center of the drama." Asked what kind of roles he still wants to play, Fiennes ignites in glee. "I want to play a cowboy. I want to be a cowboy," he says, knowing precisely how absurd the idea is. "I love that myth, out on the horse." Pause. "I've got the wrong genes." Pause. "I've got the wrong jeans." But why not the challenge of the mundane? "Simple characters are hard," he replies. After "Maid in Manhattan," could he ever shine in a romantic comedy? Under the right circumstances. "The great romantic comedies -- there's quirkiness, a looseness, an eccentricity to them. They're built on neuroses and people who have obsessions -- stuff we all recognize. It feeds back into the complicated stuff.

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