The Final Destination

• FINAL DESTINATION, THE 3D (DVD MOVIE)

Death is just as omnipresent as ever, and in Final Destination 5 it strikes again. During the bus ride to a corporate retreat, Sam (Nicholas D’Agosto) has a premonition in which he and most of his friends â€" as well as numerous others â€" die in a horrific bridge collapse. When his vision ends, events begin to mirror what he had seen, and he frantically ushers as many of his colleagues â€" including his friend, Peter (Miles Fisher), and girlfriend, Molly (Emma Bell) â€" away from the disaster before Death can claim them. But these unsuspecting souls were never supposed to survive, and in a terrifying race against time, the ill-fated group tries to discover a way to escape Death’s sinister agenda. Moviedom's most fatalistic franchise returns in efficient form in Final Destination 5, an installment that goes for broke in its big opening s! et piece. This time the initial disaster happens on a suspension bridge that turns out to be all too vulnerable to high winds and an over-aggressive repair project. The employees of Presage Plus (ha ha) are in a bus crossing the span when Sam (Nicholas D'Agosto) pre-envisions the bloody disaster to come; panicked, he urges his friends to scamper off the bridge just in time to avoid the collapse. You know what comes next: the survivors face certain death as Fate demands its deferred payment, and a coroner (Tony Todd, thankfully returning to the series) intones dark wisdom about the price that must be paid. Director Steven Quale understands that the audience expects the horrifyingly convoluted deaths of the previous pictures; each new demise is like the result of a crowd at an improv theater shouting out different ideas to weave together (hmm, what can we do with a leaky air conditioner, a loose screw, and a set of uneven parallel bars?). The results--shot for 3-D release, no! less--will not disappoint die-hard fans, and even the actors ! are bear able this time around: D'Agosto, from the underrated Fired Up!, pairs nicely with Emma Bell, P.J. Byrne gets off a few unctuous one-liners, and David Koechner does his clueless jerk routine as the Presage Plus boss from hell. The final sequence, while not making any sense according to the rules we've been watching, does tie up the entire series in a neat bow. Until the next sequel, anyway. --Robert HortonDeath is just as omnipresent as ever, and in Final Destination 5 it strikes again. During the bus ride to a corporate retreat, Sam (Nicholas D’Agosto) has a premonition in which he and most of his friends â€" as well as numerous others â€" die in a horrific bridge collapse. When his vision ends, events begin to mirror what he had seen, and he frantically ushers as many of his colleagues â€" including his friend, Peter (Miles Fisher), and girlfriend, Molly (Emma Bell) â€" away from the disaster before Death can claim them. But these unsuspecting souls w! ere never supposed to survive, and in a terrifying race against time, the ill-fated group tries to discover a way to escape Death’s sinister agenda. Moviedom's most fatalistic franchise returns in efficient form in Final Destination 5, an installment that goes for broke in its big opening set piece. This time the initial disaster happens on a suspension bridge that turns out to be all too vulnerable to high winds and an over-aggressive repair project. The employees of Presage Plus (ha ha) are in a bus crossing the span when Sam (Nicholas D'Agosto) pre-envisions the bloody disaster to come; panicked, he urges his friends to scamper off the bridge just in time to avoid the collapse. You know what comes next: the survivors face certain death as Fate demands its deferred payment, and a coroner (Tony Todd, thankfully returning to the series) intones dark wisdom about the price that must be paid. Director Steven Quale understands that the audience expects the horrifyingl! y convoluted deaths of the previous pictures; each new demise ! is like the result of a crowd at an improv theater shouting out different ideas to weave together (hmm, what can we do with a leaky air conditioner, a loose screw, and a set of uneven parallel bars?). The results--shot for 3-D release, no less--will not disappoint die-hard fans, and even the actors are bearable this time around: D'Agosto, from the underrated Fired Up!, pairs nicely with Emma Bell, P.J. Byrne gets off a few unctuous one-liners, and David Koechner does his clueless jerk routine as the Presage Plus boss from hell. The final sequence, while not making any sense according to the rules we've been watching, does tie up the entire series in a neat bow. Until the next sequel, anyway. --Robert HortonDeath is just as omnipresent as ever, and in Final Destination 5 it strikes again. During the bus ride to a corporate retreat, Sam (Nicholas D’Agosto) has a premonition in which he and most of his friends â€" as well as numerous others â€" die in a horrific ! bridge collapse. When his vision ends, events begin to mirror what he had seen, and he frantically ushers as many of his colleagues â€" including his friend, Peter (Miles Fisher), and girlfriend, Molly (Emma Bell) â€" away from the disaster before Death can claim them. But these unsuspecting souls were never supposed to survive, and in a terrifying race against time, the ill-fated group tries to discover a way to escape Death’s sinister agenda. Moviedom's most fatalistic franchise returns in efficient form in Final Destination 5, an installment that goes for broke in its big opening set piece. This time the initial disaster happens on a suspension bridge that turns out to be all too vulnerable to high winds and an over-aggressive repair project. The employees of Presage Plus (ha ha) are in a bus crossing the span when Sam (Nicholas D'Agosto) pre-envisions the bloody disaster to come; panicked, he urges his friends to scamper off the bridge just in time to avoid the! collapse. You know what comes next: the survivors face certai! n death as Fate demands its deferred payment, and a coroner (Tony Todd, thankfully returning to the series) intones dark wisdom about the price that must be paid. Director Steven Quale understands that the audience expects the horrifyingly convoluted deaths of the previous pictures; each new demise is like the result of a crowd at an improv theater shouting out different ideas to weave together (hmm, what can we do with a leaky air conditioner, a loose screw, and a set of uneven parallel bars?). The results--shot for 3-D release, no less--will not disappoint die-hard fans, and even the actors are bearable this time around: D'Agosto, from the underrated Fired Up!, pairs nicely with Emma Bell, P.J. Byrne gets off a few unctuous one-liners, and David Koechner does his clueless jerk routine as the Presage Plus boss from hell. The final sequence, while not making any sense according to the rules we've been watching, does tie up the entire series in a neat bow. Until the next seque! l, anyway. --Robert HortonFINAL DESTINATION - DVD MovieInstallment #4 in the premonition-laden Final Destination series (this one called simply The Final Destination) comes on like a poker-faced send-up of the previous episodes, featuring a collection of hilariously over-the-top deaths and the usual array of Rube Goldberg set-ups--except this time the chain reactions rarely result in mayhem. Fate, it seems, is more random than that. We open at a racetrack, where vapid teen Bobby Campo has a vision of slaughter involving cars crashing and bleachers crumbling. When he hustles girlfriend Shantal VanSanten and their friends out of the grandstands before the real conflagration, it doesn't take long to figure out that their time is going to come, and soon. (Which they would have known if they'd watched the first three Final Destination movies.) From there, it's just waiting around for the killings, which this time utilize a car wash, a beauty parlor, a! nd a tow truck run amok. Perhaps the gruesomeness of the death! s this t ime is explained by the cheapjack production (gotta grab 'em with something) and surely the many jabbing, jutting implements are there because the film was released to some theaters in 3-D. As for the death that occurs in a swimming-pool drain, it seems somebody read Chuck Palahniuk's notorious story "Guts," or at least had an ear for urban legends. The bland characters and tin-ear dialogue don't help anything, even if the climactic sequence in a movie theater showing a 3-D film suggests a lurking sense of self-awareness. Moral: there may be three dimensions, but there's only one destination. --Robert Horton

Read more »

Levis Men's Faux Leather Aviator Bomber, Brown, Medium

• Sherpa lined
• Rugged-look

Faux leather aviator bomber

Read more »

Earth 2 - The Complete Series

• Actors: Debrah Farentino, Clancy Brown, Jessica Steen, Antonio Sabato.
• Format: Box set, Closed-captioned, Color, Dolby, Full Screen, NTSC.
• Language: English. Subtitles: English, Spanish.
• Region: Region 1 (U.S. and Canada only).
• Not Rated. Run Time: 1025 minutes.

Another Earth is an unusual hybrid of existential rumination on life choices, mind-bending sci-fi supposition, and challenging indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich! in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a tragic accident while driving drunk after celebrating her acceptance into college. The collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been identified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution an! d motivation, the constant of the alternate Earth, which has b! een stea dily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or is it Earth 1?) becomes the catalyst for her belief that she can fundamentally alter both their lives for the better, but the movie never shows its hand in how or if this might work. Another Earth is another of those high-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewe! rs, many of who may never be able to come up with a satisfying answer. --Ted FryAnother Earth is an unusual hybrid of existential rumination on life choices, mind-bending sci-fi supposition, and challenging indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a ! tragic accident while driving drunk after celebrating her acce! ptance i nto college. The collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been identified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution and motivation, the constant of the alternate Earth, which has been steadily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or! is it Earth 1?) becomes the catalyst for her belief that she can fundamentally alter both their lives for the better, but the movie never shows its hand in how or if this might work. Another Earth is another of those high-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewers, many of who may never be able to come up with a satisfying answer. --Ted FryJJ Abrams and Steven Spielberg join forces in this extraordinary tale of youth, mystery, and adventure. Super 8 tells the story of six friends who witness a train wreck while making a Super 8 mo! vie, only to learn that something unimaginable escaped during ! the cra sh. They soon discover that the only thing more mysterious than what it is, is what it wants. Experience the film that critics rave is, “filled with unstoppable imagination and visual effects to spare. It will put a spell on you.” â€" Peter Travers, Rolling StoneFew filmmakers have ever had a run at the tables like Steven Spielberg, whose output from 1971's Sugarland Express to, say, 1982's E.T. displayed an amazingly unforced melding of huge set pieces and small human gestures. Even at their most chaotic, they somehow felt organic. Super 8, writer-director J.J. Abrams's authorized tribute to classic Spielbergisms, hits all of the marks (Lived-in suburbia backdrop, check. Awestruck gazes upwards, check. Parental discord, check. Lens flares, amazingly huge check), but its adherence to the formula squelches much of its own potential. Appealing as it is to see a summer movie that retro-prioritizes character development over jittery quick-cut explosio! ns, the viewer is always aware at how furiously it's working to seem effortless. Set in 1979, Abrams's script follows a group of movie-crazy kids attempting to make a zombie flick, only to have their plans cut short by a close encounter with a train derailment. As the military pours over the wreckage and neighbors start disappearing, the gang realizes that their footage contains a cameo appearance by an extremely grumpy guest star. For a film whose promotional campaign hinged so strongly on creating an air of mystery, Super 8 is a fairly straightforward melding of E.T. and Jurassic Park, albeit one featuring an oddly schizophrenic monster (he eats people… until he doesn't). Abrams makes his young cast shine (particularly when developing a hint of romance between leads Joel Courtney and Elle Fanning), while also providing a nice character arc for Kyle Chandler, as a widowed deputy who can see his relationship with his son slipping away. Aside from a fe! w primo early jolts, however, the creature-feature aspects fee! l increa singly shoehorned in alongside the more assured coming-of-age elements. Abrams's film has more than enough bright spots to warrant a viewing, but its insistence on worshipfully following the master's playbook is a bit of a bummer. Imitation isn't always flattering. --Andrew WrightA science-fiction series with an ecological theme, EARTH 2 only ran for one season on NBC, and all 22 episodes of the program are collected here. In the distant future, the surface of the Earth has been largely destroyed, and mankind lives in space stations orbiting the planet. A group of space colonists, led by Devon Adair (Debrah Farentino) and John Danzinger (Clancy Brown), are sent to a far off planet to prepare it for colonization by the surviving population of Earth. But a mishap sends them careening off-course, crash landing thousands of miles from the proper camp site. EARTH 2 follows the band of colonists as they traverse the planet, encountering dangerous aliens and other humans who! view them with distrust and suspicion. By tackling issues like ecology and colonization, EARTH 2 engages important ideas and themes in an entertaining fashion.

Read more »

Dave Chappelle's Block Party - 27x40 Original Poster

• High Quality Product
• Great Collectible
• Great Wall Décor
• Brand New Item

A MIX OF DAVE CHAPELLE'S SKETCH COMEDY & MUSICAL INTERLUDES ASHE TAKES ON AN UNFORGETTABLE JOURNEY TO THROW THE DECADES MOSTOUTRAGEOUS PARTY.Few movies, documentary or otherwise, capture the relaxed exuberance of Dave Chappelle's Block Party. This is Chappelle's first project since his show on Comedy Central received so much popular and critical attention that he apparently had a psychological meltdown and fled to Africa to escape. You can still see a hint of weariness and wariness in his eyes--but even more you can see his relief to be launching a project that bears no expectations. Funded by his own money and free to all who attended, Chappelle set up a secret concert location in Brooklyn and pulled together a musical lineup of stellar acts, including Erykah Badu, Kanye West, Mos Def, Jill! Scott, Common, the Roots, Dead Prez, and the reunion of the Fugees, all of whom give vibrant performances. But Block Party doesn't just capture the show; at least a third of the movie is Chappelle wandering around Brooklyn or the Ohio neighborhood where he lives and interacting with the people he meets, many of whom he gives free tickets for the show. These scenes, combined with footage of the performers rehearsing or just gassing around before the show, offer a sense that for Chappelle performing is just an extension of his everyday life; that he takes just as much pleasure from goofing around with one person as he does goofing around in front of hundreds or thousands. Putting together this event becomes a unique self-portrait as well as an experience that rejuvenated Chappelle. If you surrender to the vitality of the show and Chappelle's loose comic jazz, you may find it rejuvenating too. --Bret FetzerA MIX OF DAVE CHAPELLE'S SKETCH COMEDY & MUSICAL INTERLU! DES ASHE TAKES ON AN UNFORGETTABLE JOURNEY TO THROW THE DECADE! S MOSTOU TRAGEOUS PARTY.Few movies, documentary or otherwise, capture the relaxed exuberance of Dave Chappelle's Block Party. This is Chappelle's first project since his show on Comedy Central received so much popular and critical attention that he apparently had a psychological meltdown and fled to Africa to escape. You can still see a hint of weariness and wariness in his eyes--but even more you can see his relief to be launching a project that bears no expectations. Funded by his own money and free to all who attended, Chappelle set up a secret concert location in Brooklyn and pulled together a musical lineup of stellar acts, including Erykah Badu, Kanye West, Mos Def, Jill Scott, Common, the Roots, Dead Prez, and the reunion of the Fugees, all of whom give vibrant performances. But Block Party doesn't just capture the show; at least a third of the movie is Chappelle wandering around Brooklyn or the Ohio neighborhood where he lives and interacting with the people he ! meets, many of whom he gives free tickets for the show. These scenes, combined with footage of the performers rehearsing or just gassing around before the show, offer a sense that for Chappelle performing is just an extension of his everyday life; that he takes just as much pleasure from goofing around with one person as he does goofing around in front of hundreds or thousands. Putting together this event becomes a unique self-portrait as well as an experience that rejuvenated Chappelle. If you surrender to the vitality of the show and Chappelle's loose comic jazz, you may find it rejuvenating too. --Bret FetzerA real crowd-pleaser, Dave Chappelle's Block Party soundtrack spotlights comedy superstar Dave Chappelle in all-new freestyle standup material, and also one-time-only performances by Mos Def, Erykah Badu, Common, Dead Prez, Jill Scott, Talib Kweli and The Roots, among others. The soundtrack captures the unprecedented combination of comedy and music was recorde! d on location, as Mr. Chappelle threw a party in downtown Broo! klyn, in viting local residents to experience these exclusive performances by the most progressive cutting edge urban artists in the music scene today. Geffen. 2006.Don't you wish you were Dave Chappelle? The guy is funny as hell--and rich and famous for it. What's more, he's socially conscious and has impeccable taste in music. Thanks to Michel Gondry's triumphant, uplifting film, we got to see Chappelle live out his personal fantasy--a "block party" in Brooklyn's Bed-Stuy 'hood. The comedian handpicked his favorite hip-hop and R&B artists to participate, and the roster includes some of the most significant names of the past 10 years of "urban" music, including the Roots, Mos Def, Talib Kweli, Jill Scott, Erykah Badu, and Common. Unfortunately, the CD omits the Fugees reunion that formed the climax of the film and it also leaves out a stirring performance by Kanye West, the biggest rap star of the day. That said, the music that is here is often scintillating, especially by Badu and ! Scott, who kill with their own tracks and spice up many of the rap tracks to boot. The one new cut (not in the film), Blackstar's "Born & Raised," keeps the quality high. Not surprisingly, the soundtrack simply can't reconstruct the positive vibrations and powerful messages of the movie, but it's still a worthwhile document of the magic that happened on a rainy September 2004 day at the corner of Downing and Quincy. --Marc Greilsamer27x40 Original Poster

Read more »

Garden of Eden

• ISBN13: 9780684804521
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

The late 1960s and early 1970s, in New York City and the country at large, were years marked by political tumult, social unrestâ€"and the best professional basketball ever played. Paradise, for better or worse, was a hardwood court in Midtown Manhattan.

When the Garden Was Eden is the definitive account of how the New York Knickerbockers won their first and only championships, and in the process provided the nation no small escape from the Vietnam War, the tragedy at Kent State, and the last vestiges of Jim Crow.

In When the Garden Was Eden, Harvey Araton not only traces the history of New York’s beloved franchiseâ€"from Ned Irish to Spike Lee to Carmelo Anthonyâ€"! but profiles the lives and careers of one of sports’ all-time great teams, the Old Knicks. From the Louisiana home of the Captain, Willis Reed; to the lush gardens of Walt “Clyde” Frazier’s St. Croix oasis; to the political office of Senator Bill Bradley, Araton relives their most glorious triumphs, bitter rivalries, and casts light on a time when the Garden, Madison Square, was its own sort of Eden.

Think you know how the game of baseball began? Think again.

Forget Abner Doubleday and Cooperstown. Forget Alexander Joy Cartwright and the New York Knickerbockers. Instead, meet Daniel Lucius Adams, William Rufus Wheaton, and Louis Fenn Wadsworth, each of whom has a stronger claim to baseball paternity than Doubleday or Cartwright.

But did baseball even have a fatherâ€"or did it just evolve from other bat-and-ball games? John Thorn, baseball’s preeminent historian, examines the creation story of the game and finds it all to be a gigantic lie, not only the D! oubleday legend, so long recognized with a wink and a nudge. F! rom its earliest days baseball was a vehicle for gambling (much like cricket, a far more popular game in early America), a proxy form of class warfare, infused with racism as was the larger society, invigorated if ultimately corrupted by gamblers, hustlers, and shady entrepreneurs. Thorn traces the rise of the New York version of the game over other variations popular in Massachusetts and Philadelphia. He shows how the sport’s increasing popularity in the early decades of the nineteenth century mirrored the migration of young men from farms and small towns to cities, especially New York. And he charts the rise of secret professionalism and the origin of the notorious “reserve clause,” essential innovations for gamblers and capitalists. No matter how much you know about the history of baseball, you will find something new in every chapter. Thorn also introduces us to a host of early baseball stars who helped to drive the tremendous popularity and growth of the game in the postâ! €"Civil War era: Jim Creighton, perhaps the first true professional player; Candy Cummings, the pitcher who claimed to have invented the curveball; Albert Spalding, the ballplayer who would grow rich from the game and shape its creation myth; Hall of Fame brothers George and Harry Wright; Cap Anson, the first man to record three thousand hits and a virulent racist; and many others. Add bluff, bluster, and bravado, and toss in an illicit romance, an unknown son, a lost ball club, an epidemic scare, and you have a baseball detective story like none ever written.

Thorn shows how a small religious cult became instrumental in the commission that was established to determine the origins of the game and why the selection of Abner Doubleday as baseball’s father was as strangely logical as it was patently absurd. Entertaining from the first page to the last, Baseball in the Garden of Eden is a tale of good and evil, and the snake proves the most interesting character. It! is full of heroes, scoundrels, and dupes; it contains more sc! andal by far than the 1919 Black Sox World Series fix. More than a history of the game, Baseball in the Garden of Eden tells the story of nineteenth-century America, a land of opportunity and limitation, of glory and greedâ€"all present in the wondrous alloy that is our nation and its pastime.A sensational bestseller when it appeared in 1986, The Garden of Eden is the last uncompleted novel of Ernest Hemingway, which he worked on intermittently from 1946 until his death in 1961. Set on the Côte d'Azur in the 1920s, it is the story of a young American writer, David Bourne, his glamorous wife, Catherine, and the dangerous, erotic game they play when they fall in love with the same woman. "A lean, sensuous narrative...taut, chic, and strangely contemporary," The Garden of Eden represents vintage Hemingway, the master "doing what nobody did better" (R. Z. Sheppard, Time).

Read more »

Ghosts of the Abyss

• Walt Disney Pictures and James Cameron, the Academy Award(R)-winning director of TITANIC (1997), present the groundbreaking cinematic achievement GHOSTS OF THE ABYSS. Joined by his personal friend Bill Paxton (TITANIC) and a team of the world's foremost history and marine experts, Cameron journeys back to the site of his greatest inspiration -- the legendary wreck of the Titanic. During the vo

Walt Disney Pictures and James Cameron, the Academy Award(R)-winning director of TITANIC (1997), present the groundbreaking cinematic achievement GHOSTS OF THE ABYSS. Joined by his personal friend Bill Paxton (TITANIC) and a team of the world's foremost history and marine experts, Cameron journeys back to the site of his greatest inspiration -- the legendary wreck of the Titanic. During the voyage, you will explore the entire ship, deck by deck, room by room, encountering mysteries that have remained hi! dden for almost a century. Revolutionary underwater robots were designed and built solely for the purpose of allowing the explorers to peer deep into the remains of the once great ship and bring those surreal and haunting images back to the surface. Loaded with never-before-seen footage, revealing interviews, and innovative DVD bonuses, this unprecedented motion picture event is a must-own companion for anyone who loves TITANIC.Even without its original 3-D IMAX presentation, James Cameron's Ghosts of the Abyss is still an eerily elegant tour of history's most infamous shipwreck. Six years after his original journey to the rusting hulk of the Titanic (where he captured footage for his 1997 blockbuster), Cameron returned to the wreckage with actor Bill Paxton, a team of Russian and American scientists, the world's most knowledgeable Titanic historians, and enough state-of-the-art technology to film the most complete and intimate exploration of the ill-fa! ted ship's remains. Astonishing footage, flawless digital anim! ation, a nd ghostly re-creations of the ship's final hours are seamlessly combined to orient the viewer at an intersection of tragic past and awe-inspiring present, emphasizing more than ever the sheer scale of Titanic's gargantuan construction. Signs of luxury remain, 90 years later, while the terrorist attacks of September 11, 2001 (occurring here in mid-mission) place this unforgettable journey into resonant, humanitarian perspective. --Jeff Shannon

Read more »

Brief Interviews with Hideous Men

• ISBN13: 9780316925198
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

David Foster Wallace made an art of taking readers into places no other writer even gets near. The series of stories from which this exuberantly acclaimed book takes its title is a sequence of imagined interviews with men on the subject of their relations with women. These portraits of men at their most self-justifying, loquacious, and benighted explore poignantly and hilariously the agonies of sexual connections.Amid the screams of adulation for bandanna-clad wunderkind David Foster Wallace, you might hear a small peep. It is the cry for some restraint. On occasion the reader is left in the dust wondering where the story went, as the author, literary turbochargers on full-blast, suddenly accelerate! s into the wild-blue-footnoted yonder in pursuit of some obscure metafictional fancy. Brief Interviews with Hideous Men, Wallace's latest collection, is at least in part a response to the distress signal put out by the many readers who want to ride along with him, if he'd only slow down for a second.

The intellectual gymnastics and ceaseless rumination endure (if you don't have a tolerance for that kind of thing, your nose doesn't belong in this book), but they are for the most part couched in simpler, less frenzied narratives. The book's four-piece namesake takes the form of interview transcripts, in which the conniving horror that is the male gender is revealed in all of its licentious glory. In the short, two-part "The Devil Is a Busy Man," Wallace strolls through the Hall of Mirrors that is human motivation. (Is it possible to completely rid an act of generosity of any self-serving benefits? And why is it easier to sell a couch for five ! dollars than it is to give it away for free?) The even shorte! r glimps e into modern-day social ritual, "A Radically Condensed History of Postindustrial Life," stretches the seams of its total of seven lines with scathing economy: "She laughed extremely hard, hoping to be liked. Then each drove home alone, staring straight ahead, with the very same twist to their faces." Wallace also imbues his extreme observational skills with a haunting poetic sensibility. Witness what he does to a diving board and the two darkened patches at the end of it in "Forever Overhead":

It's going to send you someplace which its own length keeps you from seeing, which seems wrong to submit to without even thinking.... They are skin abraded from feet by the violence of the disappearance of people with real weight.

Of course, not every piece is an absolute winner. "The Depressed Person" slips from purposefully clinical to unintentionally boring. "Tri-Stan: I Sold Sissee Nar to Ecko" reimagines an Arthurian tale in MTV terms a! nd holds your attention for about as long as you'd imagine from such a description. Ultimately, however, even these failed experiments are a testament to Mr. Wallace's endless if unbridled talent. Once he gets the reins completely around that sucker, it's going to be quite a ride. --Bob Michaels

Read more »

10 Things I Hate About You

• A cool cast of young stars is just one of the things you ll love about this hilarious comedy hit! On the first day at his new school, Cameron (Joseph Gordon Levitt Halloween: H20, TV s 3rd Rock From The Sun) instantly falls for Bianca (Larisa Oleynik The Baby-Sitters Club), the gorgeous girl of his dreams! The only problem is that Bianca is forbidden to date.until her ill-tempered, completely un-

Ellie, a free-spirited and headstrong young woman is left in charge of a residential home over the Christmas holidays. Her youth and inexperience bring her into bitter conflict with the four grumpy old residents. HOW ABOUT YOU deals with the hilarious antics of this uncivilized group, an unlikely romance, and the gradual solidarity that develops between the residents and Ellie, in this critically acclaimed heartwarming and irresistible film.A cool cast of young stars is just one of the things you'll ! love about this hilarious comedy hit! On the first day at his new school, Cameron (Joseph Gordon-Levitt -- HALLOWEEN: H2O, TV's "3RD Rock From The Sun") instantly falls for Bianca (Larisa Oleynik -- THE BABY SITTERS CLUB), the gorgeous girl of his dreams. The only problem is that Bianca is forbidden to date ... until her ill-tempered, completely un-dateable older sister Kat (Julia Stiles -- THE BOURNE IDENTITY, SAVE THE LAST DANCE) goes out too! In an attempt to solve his problem, Cameron singles out the only guy who could possibly be a match for Kat: a mysterious bad-boy (Heath Ledger -- A KNIGHT'S TALE, THE PATRIOT) with a nasty reputation of his own! Also featuring a hip soundtrack -- this witty comedy is a wildly entertaining look at exactly how far some guys will go to get a date!It's, like, Shakespeare, man! This good-natured and likeable update of The Taming of the Shrew takes the basics of Shakespeare's farce about a surly wench and the man who tries to win h! er and transfers it to modern-day Padua High School. Kat Strat! ford (Ju lia Stiles) is a sullen, forbidding riot grrrl who has a blistering word for everyone; her sunny younger sister Bianca (Larisa Oleynik) is poised for high school stardom. The problem: overprotective and paranoid Papa Stratford (a dryly funny Larry Miller) won't let Bianca date until boy-hating Kat does, which is to say never. When Bianca's pining suitor Cameron (Joseph Gordon-Levitt) gets wind of this, he hires the mysterious, brooding Patrick Verona (Heath Ledger) to loosen Kat up. Of course, what starts out as a paying gig turns to true love as Patrick discovers that underneath her brittle exterior, Kat is a regular babe. The script, by Karen McCullah Lutz and Kirsten Smith, is sitcom-funny with peppy one-liners and lots of smart teenspeak; however, its cleverness and imagination doesn't really extend beyond its characters' Renaissance names and occasional snippets of real Shakespearean dialogue. What makes the movie energetic and winning is the formula that helped make She's All That such a big hit: two high-wattage stars who look great and can really act. Ledger is a hunk of promise with a quick grin and charming Aussie accent, and Stiles mines Kat's bitterness and anger to depths usually unknown in teen films; her recitation of her English class sonnet (from which the film takes its title) is funny, heartbreaking, and hopelessly romantic. The imperious Allison Janney (Primary Colors) nearly steals the film as a no-nonsense guidance counselor secretly writing a trashy romance novel. --Mark Englehart

Read more »

THE BRIDGE ON THE RIVER KWAI 11X14 COLOR PHOTO

• Description: High Quality real photograph printed on Fuji Paper.
• Size: 11X14 inches
• Would look great at home or in your office!

Spectacularly produced, and the winner of seven Academy Awards® (1957), including Best Picture, Best Director, and Best Actor (Alec Guinness), The Bridge on the River Kwai continues to be one of the most memorable cinematic experiences of all time. Now, for the first time on Blu-ray, following an extensive all-new 4K digital restoration from the original negative, with newly restored 5.1 audio, experience director David Lean's masterpiece as you never have before.
Director David Lean's masterful 1957 realization of Pierre Boulle's novel remains a benchmark for war films, and a deeply absorbing movie by any standard--like most of Lean's canon, The Bridge on the River Kwai achieves a richness in theme, narrative, and characteri! zation that transcends genre.

The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.

Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn'! t pander to attention deficit disorders with an explosion ever! y 15 min utes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.

Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. --Sam Sutherland

Stills from The Bridge on the River Kwai (click for larger image)

Beyond The Bridge on the River Kwai

The David Lean Collection

WWII 60th Anniversary Collection

The True Story of the Bridge on the River Kwai (History Channel)

Director David Lean's masterful 1957 realization of PierreBoulle's novel remains a benchmark for war films, and a deeply absorbing movie by any standard--like most of Lean's canon, The Bridge on the River Kwai achieves a richness in theme, narrative, and characterization that transcends genre.

The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) h! as been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.

Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extr! aordinary performances. Hayakawa's cruel camp commander is gra! dually r evealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.

Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. --Sam SutherlandLed in great part by Mitch Miller's recording of "The River Kwai March/Colonel Bogey March," this soundtrack became part of the mass-consciousness of the 1950s and following decades. The infectious and defiant whistling of the British prisoners of war is only one aspect of the film, though, standing alongside a score by Malcolm Arnold t! hat (although winning an Academy Award) became overshadowed by Miller's commercial success. Often wading in folly as much as doom, Arnold views the adversities and will of the POWs in a way akin to Mickey's battle with the brooms in Fantasia. "Shear's Escape" floats in the life-and-death realism of the situation yet seems to find the playfulness and romantic abandon of a walk through a forest. "Overture," in its simultaneously laborious and stirring tones, prefers the stark representation of menace and captivity, orchestral sections battling one another as they search for a means of escape yet, in the end, find they must submit. And standing among it all is K. Alford's "Colonel Bogey March," the whistling tribute to another Disney film score that has always seemed to alleviate even the worst days of drudgery at a cruel job. --James StockstillThe incredible life and times of Hollywood's most iconoclastic producer, the miracle worker who went from penniless ref! ugee to show biz legend, and made possible "The African Queen,! On the Waterfront, The Bridge on the River Kwai" and "Lawrence of Arabia," not to speak of many more, including movies as distinct as "Suddenly, Last Summer; Nicholas and Alexandra; The Last Tycoon; " and "Betrayal; " all of them sharing the unique vision that earned Spiegel twenty-five Oscars: star-filled, bigger-than-life, conceived on a vast scale, intensely dramatic, and overwhelmingly ambitious.

In this rich and brilliant biography, Natasha Fraser-Cavassoni, who had the advantage of knowing and working for Spiegel, brings into sharp focus a Hollywood legend who was at once crafty, unscrupulous, mendacious, and equally capable of great charm and petty meanness, who was sentimental and ruthless, a shrewd judge of talent, a gambler on a colossal scale, a man of almost unique artistic vision and courage who was, in the final analysis, that most elusive and rare of movie producers, a genius.

The story of a how a Jewish refugee without a penny to his name managed to produce seve! ral of the greatest films of all time is alone worth telling, but Natasha Fraser-Cavassoni has done more; she has drawn the definitive portrait of the man himself -- the elusive, witty, cynical adventurer who, like so many refugees, was able to live, succeed, and raise money everywhere, but who was at home nowhere. Spiegel surrounded himself with luxury and beautiful women but remained a loner despite his countless friends.

Spiegel was mysterious about his origins, prompting Arthur Miller to refer to him as "The GreatGatsby." In reality, he was born of middle-class Jewish parents in the last years of the Austro-Hungarian Empire. Raised in Jaroslav, in western Galicia, Spiegel left home in his late teens and quickly became a hero of the Hashomer Hatzair, a Zionist youth movement.

Step by step, with immense research and a vast number of interviews, Natasha Fraser-Cavassoni recreates the world of Sam Spiegel's childhood and youth, separating often self-serving fiction from! fact. She follows Spiegel's dramatic flight from the Nazis in! Berlin, a prison sentence in London, problems with the police in Paris and Mexico City, and finally his arrival in Los Angeles. In America his career languished for a time, though he acquired a reputation for being a supreme "fixer," a brilliant luftmensh on the fringes of Hollywood power, the ultimate party-giver who knew everybody's secrets and was always quick to charm women and take advantage of men. Billy Wilder called him "a modern day Robin Hood, who steals from the rich and steals from the poor."

With a brilliant sense of time and place and a deep understanding of Spiegel's complex personality, Fraser-Cavassoni traces his disasters, successes, romances, friendships, and tangled finances in a narrative that is rich with colorful Spiegel stories, scandals, and bon mots.

The cast of characters in Spiegel's life includes Lauren Bacall, Humphrey Bogart, Marlon Brando, Montgomery Clift, Robert De Niro, Barry Diller, David Geffen, Katharine Hepburn, John Huston, Elia Kazan, Da! vid Lean, Joseph L. Mankiewicz, Mike Nichols, Harold Pinter, Otto Preminger, Elizabeth Taylor, Gore Vidal, Orson Welles, Billy Wilder, Darryl F. Zanuck, bevies of beautiful women, three wives, countless members of high society, and, most important, Sam Spiegel himself -- the last of the great independent film producers who, in the swashbuckling tradition of David O. Selznick and Sam Goldwyn, operated alone, aimed high, and believed, above all, in their own star.

More than a major book about the movie business, "Sam Spiegel" is an intricate and engrossing biography, comparable in its richness, depth, and attention to detail to A. Scott Berg's acclaimed biography of Samuel Goldwyn. It is a marvelous, once-in-a-lifetime reading experience and an astonishing debut for Natasha Fraser-Cavassoni.

Prior to this meticulously researched biography, legendary producer Sam Spiegel had loomed large in countless Hollywood memoirs, but was rarely the subject of close examination. Prais! eworthy for negotiating a maze of apocryphal stories and unver! ified de tails, Sam Spiegel solves many of the mysteries resulting from the falsehoods of "Spiegelese," for the renowned producer--whose crowning achievements included The Bridge on the River Kwai and Lawrence of Arabia--was perhaps the most inventive liar to gain prominence in Hollywood. With a refreshing absence of judgment, this unflinching study portrays Spiegel as a consummate manipulator, hedonist, philanderer, absentee father, sexaholic (a foot fetishist who favored young girls well into his '70s), and globetrotting entertainer of the social elite, "incapable of guilt" and so charming that he could achieve miracles (and numerous faked heart attacks, to disarm his detractors) while producing some of the greatest films of Hollywood's post-Golden era.

As a first-time biographer, Natasha Fraser-Cavassoni (a French journalist who worked as an assistant on Spiegel's final film, 1983's Betrayal) fails to plumb the depths of Spiegel's enigmatic charac! ter (so effectively hidden behind his luxurious lifestyle), offering little insight into Spiegel's unique combination of intellect and roguish insincerity. She compensates with a journalist's greatest assets: exacting research and seemingly limitless access to Spiegel's surviving contemporaries, from the late Billy Wilder to On the Waterfront director Elia Kazan and many, many others. The result is a fair and balanced portrait of one of Hollywood's classiest scoundrels, a master thief with impeccable taste and an uncanny instinct for cinematic prestige. --Jeff ShannonAt Moviestore we have an incredible library of celebrity photography covering movies, TV, music, sport and celebrity. Our exclusive photographs are professionally produced by our in-house team; we perfect bright vibrant colors or wonderful black and white tones for our photographic prints that you can display in your home or office with pride. All our images are produced from genuine original nega! tives and slides held in our vast library. We have been in bus! iness fo r 16 years so you can buy with confidence. Our guarantee: if you are not fully satisfied with any print from Moviestore we will gladly refund your money!

Read more »

Fighter

• FIGHTER (DVD MOVIE)

Academy Award® Nominees Mark Wahlberg (The Departed), Christian Bale (The Dark Knight) and Amy Adams (Doubt) star in this “remarkable†” film. Based on a true story, two brothers, against all the odds, come together to train for a historic title bout that has the power to reunite their fractured family and give their hard-luck town what it's been waiting for: pride. Micky Ward (Wahlberg) is a struggling boxer long overshadowed by his older brother and trainer, Dicky (Bale), a local legend battling his own demons. Their explosive relationship threatens to take them both down - but the bond of blood may be their only chance for redemption. Joe Morgenstern, THE WALL STREET JOURNAL It would be a mistake to confuse The Fighter with the story of Mark Wahlberg, though the similarities are striking. Completely convincing as a boxer, Wahlberg plays welterweight Micky W! ard, who grew up in working-class Massachusetts. Like the actor-producer, he had eight siblings, one more famous than the rest. Ward's half-brother, Dicky Eklund (a gaunt, crazy-eyed Christian Bale), turned to boxing first, just as Mark's brother, Donnie, preceded him as a performer (first by singing, then by acting). The similarities end there: Dicky, once known as "The Pride of Lowell," traded his promising pugilistic career for a crack pipe (Sugar Ray Leonard cameos as his best-known opponent). As David O. Russell's film begins, the smothering Alice (Frozen River's Melissa Leo) manages Micky's career, while the unpredictable Dicky attempts to train him. Despite his talent in the ring, though, Micky can't catch a break until he meets Charlene (Amy Adams), a spitfire of a bartender who encourages him to stand up for himself. When Dicky ends up in prison, and Micky takes on a more experienced manager, his fortunes start to improve, but it isn't in his nature to aband! on the people who raised him, so he attempts to unite the vari! ous fact ions in his life before his shot at the world championship slips away. Though Russell paints Micky's mother, brother, and sisters with a broad brush, Wahlberg anchors the scenario with his patient, level-headed performance. Rescue Me's Jack McGee also deserves notice as his diplomatic dad, George. --Kathleen C. FennessyAcademy Award® Nominees Mark Wahlberg (The Departed), Christian Bale (The Dark Knight) and Amy Adams (Doubt) star in this “remarkable” film*. Based on a true story, two brothers, against all the odds, come together to train for a historic title bout that has the power to reunite their fractured family and give their hard-luck town what it's been waiting for: pride. Micky Ward (Wahlberg) is a struggling boxer long overshadowed by his older brother and trainer, Dicky (Bale), a local legend battling his own demons. Their explosive relationship threatens to take them both down - but the bond of blood may be their only chance for redemption. *Joe! Morgenstern, THE WALL STREET JOURNAL It would be a mistake to confuse The Fighter with the story of Mark Wahlberg, though the similarities are striking. Completely convincing as a boxer, Wahlberg plays welterweight Micky Ward, who grew up in working-class Massachusetts. Like the actor-producer, he had eight siblings, one more famous than the rest. Ward's half-brother, Dicky Eklund (a gaunt, crazy-eyed Christian Bale), turned to boxing first, just as Mark's brother, Donnie, preceded him as a performer (first by singing, then by acting). The similarities end there: Dicky, once known as "The Pride of Lowell," traded his promising pugilistic career for a crack pipe (Sugar Ray Leonard cameos as his best-known opponent). As David O. Russell's film begins, the smothering Alice (Frozen River's Melissa Leo) manages Micky's career, while the unpredictable Dicky attempts to train him. Despite his talent in the ring, though, Micky can't catch a break until he meets Charl! ene (Amy Adams), a spitfire of a bartender who encourages him ! to stand up for himself. When Dicky ends up in prison, and Micky takes on a more experienced manager, his fortunes start to improve, but it isn't in his nature to abandon the people who raised him, so he attempts to unite the various factions in his life before his shot at the world championship slips away. Though Russell paints Micky's mother, brother, and sisters with a broad brush, Wahlberg anchors the scenario with his patient, level-headed performance. Rescue Me's Jack McGee also deserves notice as his diplomatic dad, George. --Kathleen C. FennessyThe female karate kid.

Newcomer Semra Turan delivers a star-making performance as Aicha, a Copenhagen high school senior who dreams of becoming a champion mixed martial arts fighter. But when her conservative Turkish parents demand she go to medical school, Aicha instead begins secretly training at the local academy of Sifu (Xian Gao of CROUCHING TIGER, HIDDEN DRAGON fame). In a brutal sport where men make the rul! es, can a strong-willed woman battle her way to respect? And in a world where cultures clash as hard as any combat, will she survive long enough to decide what s worth fighting for? Cyron Melville and Sadi Tekelioglu co-star in this explosive drama featuring stunning choreography by Xian Gao that goes far beyond the usual martial arts movie.

Read more »

The Boondock Saints II: All Saints Day Movie (Holding Guns) Poster Print - 24x36 Movie Poster Print, 24x36

• Poster Title: The Boondock Saints II: All Saints Day Movie (Holding Guns) Poster Print - 24x36
• Size: 24 x 36 inches

From Troy Duffy, writer and director of The Boondock Saints, comes the much anticipated sequel to the tough, stylized cutting edge saga of the MacManus brothers (Norman Reedus, Sean Patrick Flanery). The two have been in deep hiding with their father, Il Duce (Billy Connolly), in the quiet valleys of Ireland, far removed from their former vigilante lives. When word comes that a beloved priest has been killed by sinister forces from deep within the mob, the brothers return to Boston to mount a violent and bloody crusade to bring justice to those responsible. With a new partner in crime (Clifton Collins Jr., Star Trek) and a sexy FBI operative (Julie Benz, TV's Dexter) hot on their trail…the Saints are back!A cult phenomenon returns with The Boondock Sai! nts II: All Saints Day. The vigilante MacManus brothers (Sean Patrick Flanery and Norman Reedus, reprising their roles from the first movie) have retired to Ireland, but a copycat killing of a Boston priest brings them back to dish out their unique brand of quasi-spiritual justice. The story line doesn't differ much from the first movie; the brothers have a new sidekick (Clifton Collins Jr., Capote) and a new pursuer, FBI agent Eunice Bloom (Julie Benz of Dexter, striving to take the place of Willem Dafoe from the original), but it's basically a series of shootouts in which the brothers pop up "unexpectedly" and blast a bunch of cartoonish criminals to pieces. The Boondock Saints was not a good movie, but it had a weird, unique energy--you couldn't tell if the movie took itself so seriously that it was ludicrous or if it was mocking itself while reveling in its absurd extravagances. All Saints Day has the same ridiculous swagger and baroque m! acho dialogue, but this time the spark is missing (with the ex! ception of Collins, who brings all his dependable live-wire energy). Some cult fans will be disappointed, but others will still find things to enjoy. Also featuring Scottish comedian Billy Connolly (reprising his role as the elder MacManus), Judd Nelson (The Breakfast Club), and Peter Fonda (Easy Rider). --Bret Fetzer


Stills from Boondock Saints II: All Saints Day (Click for larger image)

Decorate your home or office with high quality posters. The Boondock Saints II: All Saints Day Movie (Holding Guns) Poster Print - 24x36 is that perfect piece that matches your style, interests, and budget.

Read more »

Blow

• There?s no money in a ?real job.? So George Jung deals pot. Lots of it. The blue-collar kid dubbed Boston George spirals up from there, into the riches and excesses of the huge cocaine cartels. And crashes hard. Johnny Depp portrays George, the ambitious outlaw who, perhaps more than any American, transformed powder cocaine from relative obscurity in the U.S. into a 1970s/80s feeding frenzy. Penel

Based on a true story, Blow gives us a fast-paced look at the quick rise and fall of George Jung (Johnny Depp) who became a premier importer of Colombian cocaine, in the turbulent 1970's, forever changing the face of drugs in America.A briskly paced hybrid of Boogie Nights and Goodfellas, Blow chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a personal vow against poverty, builds a marijuana empire in the '60s, multiplies hi! s fortune with the Colombian Medellín cocaine cartel, and blows it all with a series of police busts culminating in one final, long-term jail sentence. "Your dad's a loser," says this absentee father to his estranged but beloved daughter, and he's right: Blow is the story of a nice guy who made wrong choices all his life, almost single-handedly created the American cocaine trade, and got exactly what he deserved. As directed by Ted Demme, the film is vibrantly entertaining, painstakingly authentic... and utterly aimless in terms of overall purpose.

We can't sympathize with Jung's meteoric rise to wealth and the wild life, and Demme isn't suggesting that we should idolize a drug dealer. So what, exactly, is the point of Blow? Simply, it seems, to present Jung's story as the epitome of the coke-driven glory days, and to suggest, ever so subtly, that Jung isn't such a bad guy, after all. Anyone curious about his lifestyle will find this film amazing, and th! ere's plenty of humor mixed with the constant threat of violen! ce and p aranoid anxiety. Demme has also populated the film with a fantastic supporting cast (although Penélope Cruz grows tiresome as Jung's hedonistic wife), and this is certainly a compelling look at the other side of Traffic. Still, one wishes that Blow had a more viable reason for being; like a wild party, it leaves you with a hangover and a vague feeling of regret. --Jeff Shannon

Read more »

Bride of the Wind

• british
• romance
• dragonslayer
• virginia
• unwanted marriage

The daughter of a wealthy Virginia planter, innocent Rose Woodbine curses cruel fate for leading her to the court of the British King Charles -- and into an unwanted marriage with handsome and dangerous Lord Pierce Deforte, a man she dares never love.

His soul searing desire for the stunning Rose had once blinded Pierce to the treacherous machinations of his enemies. Now banished from his beloved England, he lives the life of a pirate -- seeking vengeance on those who betrayed him... including the beautiful temptress whom he once held dear. On a storm-tossed sea they are united once more -- he, no longer a noble, but the notorious brigand called Dragonslayer. And she, one his bride, is now his helpless prisoner -- forced to submit to his fury, his will...and the blistering, sensuous need that chains h! er captive heart.

Read more »

Committed: A Love Story

• ISBN13: 9780143118701
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

New release from The Sing Off winners. TV: 8/14 BET Sunday Best, 8/30 Today ShowThe #1 New York Times bestselling follow-up to Eat, Pray, Love--an intimate and erudite celebration of love.

At the end of her memoir Eat, Pray, Love, Elizabeth Gilbert fell in love with Felipe, a Brazilian living in Indonesia. The couple swore eternal love, but also swore (as skittish divorce survivors) never to marry. However, providence intervened in the form of a U.S. government ultimatum: get married, or Felipe could never enter America again. Told with Gilbert's trademark humor and intelligence, this fascinating meditation on compatibility and fidelity chronicles Gilbert's complex! and sometimes frightening journey into second marriage, and will enthrall the millions of readers who made Eat, Pray, Love a number one bestseller.

Read more »

Donkey Punch [Unrated]

• Three hot girls, four guys, and one mega-swanky yacht collide for a serious night of drugs and sexual deviancy. One debaucherous act goes too far though, turning this teen joy ride into a weekend of bloody bedlam. Format: DVD MOVIE Genre: MYSTERY/SUSPENSE Rating: NR MA Age: 876964001816 UPC: 876964001816 Manufacturer No: 10181

After meeting at a nightclub in a Mediterranean resort, seven young adults overindulge in champagne and ecstasy. Completely letting go of their inhibitions, they capture their wild partying aboard a luxury yacht on video camera. But when their reckless sexual endeavors are taken too far, one of them dies in a freak accident. The remaining members of the group argue about what to do, which leads to a ruthless fight for survival.

Read more »

Factory Girl (Unrated)

• (Drama) "Factory Girl" tells the story of the rise and fall of the original "IT GIRL" Edie Sedgwick. When Edie meets famed artist Andy Warhol, she is thrust into a life of glamour, parties and ultimately tragedy. Format: DVD MOVIE Genre: DRAMA Rating: NR Age: 796019804943 UPC: 796019804943 Manufacturer No: 80494

(Drama) "Factory Girl" tells the story of the rise and fall of the original "IT GIRL" Edie Sedgwick. When Edie meets famed artist Andy Warhol, she is thrust into a life of glamour, parties and ultimately…tragedy.The lovely face of Sienna Miller fills in for luminous but tragic 1960s icon Edie Sedgwick, the child of wealth and privilege who found brief delight but eventual destruction in the fabled Factory of Pop artist Andy Warhol (Guy Pearce). Factory Girl begins with Sedgwick as a naive art student who comes to New York City seeking freedom from her troubled family, j! ust as Warhol was surrounding himself with oddballs, sycophants, and drug addicts. The eager girl briefly becomes Warhol's favorite and the center of the city's attention, but when she falls into an affair with 'The Musician' (the only slightly ambiguous depiction of a certain nasal-voiced rock star, played by Hayden Christensen, Shattered Glass), Warhol is stricken with jealousy. Factory Girl wants to paint Warhol as the villain in this story of innocence corrupted, but the casting undercuts the movie's moral. Miller, though pretty and capable, never takes us under Sedgwick's skin, and Christensen's performance is one-note and clumsy. But Pearce's Warhol fascinates; it's a sneaky, stealthy performance, predatory yet passive, hiding a million neuroses beneath a cunningly vapid facade. Whenever Pearce is on-screen, Factory Girl sparkles; when he's not--despite abundant views of Miller's and Christensen's attractive naked flesh in the "uncut unrated" vers! ion--the movie loses its fizz. Also featuring Mena Suvari (! American Beauty), Jimmy Fallon (Fever Pitch), and Illeana Douglas (Grace of My Heart). --Bret Fetzer

Read more »

Lucky Brand Men's Short Sleeve Western Lucky Brand Crew Tee, American Navy, X-Large

• Crew neck
• slub fabric

Short sleeve Western Lucky Brand graphic tee

Read more »

Bridge To Terabithia (Full Screen Edition)

• Digital Imagination: Bringing Terabithia to Life!
• Behind the Book: The Themes of Bridge to Terabithia"
• Music video "Keep Your Mind Wide Open"

Jess Aarons' greatest ambition is to be the fastest runner in his grade. He's been practicing all summer and can't wait to see his classmates' faces when he beats them all. But on the first day of school, a new girl boldly crosses over to the boys' side and outruns everyone.

That's not a very promising beginning for a friendship, but Jess and Leslie Burke become inseparable. Together they create Terabithia, a magical kingdom in the woods where the two of them reign as king and queen, and their imaginations set the only limits. Then one morning a terrible tragedy occurs. Only when Jess is able to come to grips with this tragedy does he finally understand the strength and courage Leslie has given him.

The story starts out simp! ly enough: Jess Aarons wants to be the fastest boy in the fifth grade--he wants it so bad he can taste it. He's been practicing all summer, running in the fields around his farmhouse until he collapses in a sweat. Then a tomboy named Leslie Burke moves into the farmhouse next door and changes his life forever. Not only does Leslie not look or act like any girls Jess knows, but she also turns out to be the fastest runner in the fifth grade. After getting over the shock and humiliation of being beaten by a girl, Jess begins to think Leslie might be okay.

Despite their superficial differences, it's clear that Jess and Leslie are soul mates. The two create a secret kingdom in the woods named Terabithia, where the only way to get into the castle is by swinging out over a gully on an enchanted rope. Here they reign as king and queen, fighting off imaginary giants and the walking dead, sharing stories and dreams, and plotting against the schoolma! tes who tease them. Jess and Leslie find solace in the sanct! uary of Terabithia until a tragedy strikes and the two are separated forever. In a style that is both plain and powerful, Katherine Paterson's characters will stir your heart and put a lump in your throat.BRIDGE TO TERABITHIA - DVD MovieBased on Katherine Paterson's young-adult novel and filmed in picturesque New Zealand, Bridge to Terabithia has lessons to impart about empathy and self-expression, but the tone is never heavy-handed. Jesse (sleepy-eyed Josh Hutcherson, Zathura), a fifth-grade loner, lives in the country with his parents and four sisters, including pesky May Belle (Bailee Madison), who adores him. His strict father (Robert Patrick, The Terminator 2) works in a hardware store. Money is tight and classmates make fun of his hand-me-downs, so Jesse finds refuge in running and drawing. Everything changes when two writers and their daughter Leslie (wide-eyed AnnaSophia Robb, Charlie and the Chocolate Factory) move in next door. Leslie is faster t! han all the boys, which initially puts Jesse off, but the two soon bond over their love of make-believe. In the forest, they find a creek that can only be crossed by rope. Leslie names the land on the other side Terabithia, where they imagine themselves rulers of the kingdom. Jesse and Leslie also connect with their unconventional music teacher, Ms. Edmonds (Zooey Deschanel, Elf), who encourages their creativity. Despite the tension at home, Jesse's personal life is finally coming together when the unthinkable happens. Will he revert to his anti-social ways or will he grow from the experience? Though aimed at all ages, pre-school students may find Terebithia's creatures frightening. For grade-school kids and up, however, there's much to savor in this smartly written, sensitively acted film. --Kathleen C. Fennessy

Read more »