Dedication

• ISBN13: 9781416540144
• Condition: Used - Like New
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Kate Hollis’s ex-boyfriend’s face plasters newsstands and TV, the Internet, and the multiplex. Jake Sharpe is one of the biggest recording stars on the planet, and every song he’s famous for is about Kate and their high school relationship. For more than a decade his soundtrack has chased herâ€"from the gym to the supermarket, from the dentist’s office to the bars. Now thirty-year-old Kate gets the call that Jake has finally landed back in their Vermont hometown for an MTV special. The moment she has been waiting for has arrived.

Dedication is a poignant, humorous tale about modern celebrity obsession and coming of age during the divorce boom. With flawless depictions of the 1980s, a charismati! c heroine, and their signature biting wit, McLaughlin and Kraus offer up another lively and hilarious tale of a smart young woman looking for satisfaction in the chaos of contemporary culture.

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Be Cool

• ISBN13: 9780060777067
• Condition: Used - Very Good
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Starring an unbelievably hip all-star cast, including John Travolta, Uma Thurman, André 3000, Steven Tyler and The Rock, and bursting with the hottest music in the biz, Be Cool is the wildly hilarious tale about a gangster turned music mogul and what it takes to be number one with a bullet. When Chili Palmer (Travolta) decides to try his hand in the music industry, he romances thesultry widow (Thurman) of a recently whacked music exec, poaches a hot young singer (Christina Milian) from a rival label and discovers that the record industry is packin' a whole lot more than a tune!Be Cool takes its own advice: It's slick, Hollywood entertainment that kills two amusing hours with relative ease and comfort. Bett! er than leftovers but not as tasty as a full-course meal, this sequel to 1995's hit comedy Get Shorty (and based on Elmore Leonard's 1999 sequel novel) finds former loan shark Chili Palmer (John Travolta) itching to get out of the movie business, so he hooks up with a newly widowed music executive (Uma Thurman) to launch the career of an up-'n-coming Beyoncé-like singer (newcomer Christina Milian). A mock-black manager (Vince Vaughn), his sleazy boss (Harvey Keitel), and an upscale gangsta-rap executive (Cedric the Entertainer) all have a competing stake in the fast-rising pop diva's future, and this sets the plot rolling in a fun but rather hand-me-down fashion that lacks the savvy panache of Get Shorty but still provides plenty of lightweight humor. The Rock and Outkast's André Benjamin provide the best laughs in supporting roles that effortlessly relieve the movie from the symptoms of sequelitis. --Jeff ShannonStudio: Tcfhe/mgm Release Date: 07/05! /2011 Rating: Pg13Starring an unbelievably hip all-star cast,! includi ng John Travolta, Uma Thurman, André 3000, Steven Tyler and The Rock, and bursting with the hottest music in the biz, Be Cool is the wildly hilarious tale about a gangster turned music mogul and what it takes to be number one with a bullet. When Chili Palmer (Travolta) decides to try his hand in the music industry, he romances thesultry widow (Thurman) of a recently whacked music exec, poaches a hot young singer (Christina Milian) from a rival label and discovers that the record industry is packin' a whole lot more than a tune!Be Cool takes its own advice: It's slick, Hollywood entertainment that kills two amusing hours with relative ease and comfort. Better than leftovers but not as tasty as a full-course meal, this sequel to 1995's hit comedy Get Shorty (and based on Elmore Leonard's 1999 sequel novel) finds former loan shark Chili Palmer (John Travolta) itching to get out of the movie business, so he hooks up with a newly widowed music executive (Uma Thurm! an) to launch the career of an up-'n-coming Beyoncé-like singer (newcomer Christina Milian). A mock-black manager (Vince Vaughn), his sleazy boss (Harvey Keitel), and an upscale gangsta-rap executive (Cedric the Entertainer) all have a competing stake in the fast-rising pop diva's future, and this sets the plot rolling in a fun but rather hand-me-down fashion that lacks the savvy panache of Get Shorty but still provides plenty of lightweight humor. The Rock and Outkast's André Benjamin provide the best laughs in supporting roles that effortlessly relieve the movie from the symptoms of sequelitis. --Jeff ShannonGET SHORTY/BE COOL - DVD Movie

The sequel to Chili Palmer's hit movie Get Leo tanked and now Chili's itching for a comeback. So when a power lunch with record-label executive and former associate Tommy Athens ends in a mob hit, he soon finds himself in an unlikely alliance with organized-crime detective Darryl Holmes and the likely next targ! et of Russian gangsters. But where others see danger, Chili Pa! lmer see s story possibilities.

Enter Linda Moon, a singer with aspirations that go further than her current gig in a Spice Girls cover band. Chili takes over as Linda's manager, entering the world of rock stars, pop divas, and hip-hop gangstas. As he wings his way to success in the music business with his trademark cool, Chili manipulates his adversaries and advances his friends, all the while basing the plot of his new film on the action that results. Be Cool is rife with drama, jealousy, and betrayal, and all Chili needs to do is survive to make a new box-office hit.

The film Get Shorty was a success on many fronts. It introduced a new style of hip gangster that revised the stereotype of the Godfather series. It also helped relaunch the career of John Travolta. And it brought Elmore Leonard's impressive body of fiction to larger public attention. In Hollywood, such a triumph usually spawns a sequel--a film that rehashes the great jokes and co! ol scenes of the first film, but with none of the panache that initially inspired audiences.

In the beginning of Be Cool, the sequel to the novel Get Shorty, readers are reminded that Chili Palmer--like his creator--scored a huge success with a gangster film (his was entitled Get Leo). But the sequel, Get Lost, was a predictable dud. Rather than follow that sordid story, however, Leonard takes Chili into a totally new direction. He places Chili on a murder investigation (in which he is a prime suspect) and then traces Chili's entry into the music business. Meanwhile, Leonard reveals a whole new cast of fresh, funny, and flaky characters to populate Chili's world, characters like Elliot the gigantic, gay, Samoan bodyguard who lives to be on the stage. Throughout, the voice of John Travolta rings in Chili's every speech (word has it that Travolta has already been cast to reprise the role) as Leonard pokes fun at the Hollywood appa! ratus and the task of a sequel writer.

Be Cool ! surpasse s its original because it is so self-consciously a novel about sequels, about the sometimes cowardice that limits the creativity of the American film industry. It is hard to imagine how Leonard could top the multilayered satire/crime novel/exposé. One only hopes for a sequel. Fans of Be Cool might want to check out music from The Stone Coyotes, the band that served as Leonard's model in the book. --Patrick O'Kelley

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The Great New Wonderful

• Maggie Gyllenhaal, Edie Falco, Tony Shaloub, Stephen Colbert and Olympia Dukakis star in this lighthearted comedy about life in New York City one year following 9/11. It s a comedy about starting over. Format: DVD MOVIE Genre: COMEDY Rating: R Age: 855280001670 UPC: 855280001670 Manufacturer No: FI0167DVD

Maggie Gyllenhaal, Edie Falco, Tony Shaloub, Stephen Colbert and Olympia Dukakis star in this lighthearted comedy about life in New York City one year following 9/11. It’s a comedy about starting over.A rich portrait of life in New York in the wake of disaster, The Great New Wonderful offers a kind of compassion rare in film. Five storylines intertwine--including competitive pastry chefs (Maggie Gyllenhaal, Secretary, and Edie Falco, The Sopranos), an elderly woman (Olympia Dukakis, Moonstruck) realizing she can't stand her lumpish husband, and a middle-cl! ass parents (Judy Greer, Arrested Development, and Tom McCarthy, Syriana) coping with their increasingly sociopathic child--all of them thick with brilliantly observed social tension. As a therapist (Tony Shalhoub, Big Night) questions a patient (Jim Gaffigan), it's ambiguous whether he's diagnosing the patient's anger or actually causing it. The Great New Wonderful makes compelling drama out of the subtle discords of commonplace life, the kind of frustration and hostility that rises up constantly but has to be tamped back down in order to get through the day--but in the aftermath of a catastrophe like 9/11, the smallest things become unbearable. The Great New Wonderful doesn't rise to the scope of Robert Altman's best work (like Nashville), but it successfully avoids the forced pretensions of other ensemble pieces like Magnolia. Subtlety is too often invoked to excuse a lack of substance, but this movie genuinely makes small! nuances tangible and compelling. --Bret Fetzer

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Elite Squad

• An action-packed thriller that follows an elite police battalion (BOPE) tasked with cleaning up a drug-ridden Rio de Janeiro slum in advance of the pope's 1997 visit. A team of trained killers, they struggle to do what's right in a corrupt system and dangerous neighborhood. Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: NR Age: 796019815482 UPC: 79601981

Celebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God" are a place where combat photographers fear to tread, police rarely go and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye, the eye of an ! artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world and ultimately his way out!Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically ! immediate--that City of God prompted reforms in socioec! onomic p olicy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonCelebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God," are a place where combat photographers fear to tread, police rarely go, and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye: the eye of an artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world ... and ultimately his way out!Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a c! aptive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonSaint Augustin! e of Hippo is one of the central figures in the history of Chr! istianit y, and this book is one of his greatest theological works. Written as an eloquent defense of the faith at a time when the Roman Empire was on the brink of collapse, it examines the ancient pagan religions of Rome, the arguments of the Greek philosophers and the revelations of the Bible. Pointing the way forward to a citizenship that transcends worldly politics and will last for eternity, this book is one of the most influential documents in the development of Christianity.

One of the great cornerstones in the history of Christian thought, The City of God is vital to an understanding of modern Western society and how it came into being. Begun in A.D. 413, the book's initial purpose was to refute the charge that Christianity was to blame for the fall of Rome (which had occurred just three years earlier). Indeed, Augustine produced a wealth of evidence to prove that paganism bore within itself the seeds of its own destruction. However, over the next thirteen years ! that it took to complete the work, the brilliant ecclesiastic proceeded to his larger theme: a cosmic interpretation of history in terms of the struggle between good and evil. By means of his contrast of the earthly and heavenly cities--the one pagan, self-centered, and contemptuous of God and the other devout, God-centered, and in search of grace--Augustine explored and interpreted human history in relation to eternity.Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted ! soul. With enough visual vitality and provocative substance to! spark h eated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonPaulo Morelli's film is a pacy, bloody thriller that pays warm tribute to a diverse cross-section of American directors including Quentin Tarantino and Michael Bay. Bullets zing across the screen, heavy artillery is deployed at all times, and Morelli makes great use of the twisty favela streets during some frantic chase sequence. Silva and Cunha, who both had roles in CITY OF GOD, carry the picture with impressive ease, and while CITY OF MEN isn't an official sequel to Meirelles's lauded picture, it does serve as a neat continuation of ! that film's unshakable portrayal of the violence that has beset so many young lives in the slums of Rio de Janeiro.Action-packed and fueled by Brazilian funk, City of Men returns the makers of City of God to the scene of their first success. In this case, the search for family supersedes the search for identity--not that there isn't a correlation between the two. Though produced by Fernando Meirelles, Paulo Morelli's feature isn't a sequel, but a follow-up to the four-season series of the same name. While Meirelles's movie takes place in Rio de Janeiro's past, Morelli's transpires in the present (not counting flashbacks from the show). Days away from turning 18, boyhood friends Acerola (Douglas Silva) and Laranjinha, a.k.a. Wallace (Darlan Cunha), grew up without fathers. Ace has a wife and child; Wallace has a steady girl. The duo gets along with the gang that rules their labyrinthine hillside neighborhood or favela, but hoodlum life holds little appea! l. Ace struggles to raise his young son--his security guard fa! ther was murdered during a robbery--while Wallace tries to track down the dad he never knew. With Ace's assistance, Wallace solves the mystery of his genealogy, but at great cost to their friendship (and lives). Despite the South American pedigree, City of Men suggests the South Central of Boyz N the Hood more than City of God. It's not that Morelli's kinetic film looks like John Singleton's more classically composed enterprise, but that it deals with similar inner-city concerns. That said, Silva and Cunha are every bit as charismatic as Ice Cube and Cuba Gooding Jr.--if not more so. --Kathleen C. FennessyAn action-packed thriller that follows an elite police battalion (BOPE) tasked with cleaning up a drug-ridden Rio de Janeiro slum in advance of the pope's 1997 visit. A team of trained killers, they struggle to do what's right in a corrupt system and dangerous neighborhood.Though José Padilha's action-packed crime drama won the top prize at the Berlin F! ilm Festival, a steady stream of controversy and acclaim has followed in its wake. Some critics have even accused the director of promoting fascism, while Padilha (Bus 174) contends that Elite Squad argues against police brutality. Like Vic Mackey, who heads up The Shield's LA strike force, narrator Captain Nascimento (Wagner Moura) heads up Rio de Janeiro's Police Special Operations Battalion (BOPE). It’s 1997, the Pope arrives for a visit in six months, and BOPE will stop at nothing to reduce crime in the favelas. The way they see it, drug traffickers have them outmanned and outgunned, so there's no point in playing by the rules. With their black uniforms and berets, the Skulls certainly cut an imposing figure. New police recruits Neto (Caio Junqueira) and aspiring lawyer Matias (André Ramiro) turn to Nascimento when their efforts to operate by the book only lead to frustration (Matias was inspired by author/law student/BOPE member André Ba! tista). The burned-out captain sees his salvation in the two c! hildhood friends; as soon as he selects a replacement, he plans to leave the force and spend time with his pregnant wife. Nascimento may find his man, but the ending is far from happy. Brutal and bleakly funny, Elite Squad depicts 1990s Rio as Danté's Ninth Circle of Hell. Nonetheless, Brazilians made the film an even bigger sensation than City of God, to which it serves as an essential companion piece. --Kathleen C. Fennessy

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Munchkin 'White Hot' Duck Bath Toy

• White Hot Safety Disc reveals the word ?HOT? when bath water is too hot for baby
• Fun, easy-to-grasp size and shape
• Water-tight to prevent sinking, squirting, and mildew

0+ months. White hot - prevent bath time burns. A Bath Ducky with a safety indicator on the bottom - so only the ducky needs to tell you when its bottom is too hot. Made in China.

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Death to Smoochy Poster 27x40 Robin Williams Edward Norton Catherine Keener

• Approx. Size: 27 x 40 Inches - 69cm x 102cm
• Size is provided by the manufacturer and may not be exact
• The Amazon image in this listing is a digital scan of the poster that you will receive
• Death to Smoochy Style A 27 x 40 Inches Poster
• Packaged with care and shipped in sturdy reinforced packing material

Randolph Smiley (ROBIN WILLIAMS) has it all - as the costumed star of the highest rated kid's show on TV, "Rainbow Randolph" has a Manhattan penthouse, a Times Square billboard featuring his beloved character, cars , boats, horses and all the indulgence that celebrity brings. Until he get's caught by the Feds in an under the table bribe, busted and instantly reviled, Randolph is a star no more. Enter Sheldon Mopes (EDWARD NORTON) and his alter-ego "Smoochy", a puffy, fuscia rhinoceros. Smoochy is the perfect remedy for what ails the networks...Now it's Smoochy w! ho's got the swanky penthouse, the Times Square billboard and the smooth-talking agent (DANNY DEVITO). Sheldon soon learns that children's television is a dangerous world steeped in corruption, back-stabbing and violence with his biggest problem being Rainbow Randolph. Broke and homeless, Randolph seeks revenge on the Rhino that stole his job and his house; he's convinced the foam rubber carpetbagger is the face of evil sent by the devil to destroy him and he will not sleep until Smoochy takes a permanent dirt nap. Guaranteed to please anyone who thinks Barney is Satan's spawn, Death to Smoochy mines comedy gold by skewering children's television. Adam Resnick's easy-target satire blossoms under the demented influence of director-costar Danny DeVito, who honors his legacy of venom-laced humor with the raucous rivalry of scandalized former kid-show host Rainbow Randolph (Robin Williams) and his squeaky-clean replacement, Sheldon Mopes, a.k.a. Smoochy the Rhino (Edward! Norton). Randolph is insanely obsessed with getting his job b! ack, but Smoochy's a smash, and their war for kid-vid supremacy places a jaded "KidNet" producer (Catherine Keener) in the middle of a Rainbow/Rhino smackdown. A few lulls are easily forgiven since much of Death to Smoochy is laugh-out-loud hilarious, with DeVito, Robert Prosky, Jon Stewart, and Harvey Fierstein in choice supporting roles. It's no wonder DeVito's taboo-busting drew fire from family groups and actual kid-show producers; only the humorless would fail to laugh at Smoochy's uncompromised irreverence. --Jeff Shannon Randolph Smiley (ROBIN WILLIAMS) has it all - as the costumed star of the highest rated kid's show on TV, "Rainbow Randolph" has a Manhattan penthouse, a Times Square billboard featuring his beloved character, cars , boats, horses and all the indulgence that celebrity brings. Until he get's caught by the Feds in an under the table bribe, busted and instantly reviled, Randolph is a star no more. Enter Sheldon Mopes (EDWARD NORTON) and his ! alter-ego "Smoochy", a puffy, fuscia rhinoceros. Smoochy is the perfect remedy for what ails the networks...Now it's Smoochy who's got the swanky penthouse, the Times Square billboard and the smooth-talking agent (DANNY DEVITO). Sheldon soon learns that children's television is a dangerous world steeped in corruption, back-stabbing and violence with his biggest problem being Rainbow Randolph. Broke and homeless, Randolph seeks revenge on the Rhino that stole his job and his house; he's convinced the foam rubber carpetbagger is the face of evil sent by the devil to destroy him and he will not sleep until Smoochy takes a permanent dirt nap. Guaranteed to please anyone who thinks Barney is Satan's spawn, Death to Smoochy mines comedy gold by skewering children's television. Adam Resnick's easy-target satire blossoms under the demented influence of director-costar Danny DeVito, who honors his legacy of venom-laced humor with the raucous rivalry of scandalized former kid-! show host Rainbow Randolph (Robin Williams) and his squeaky-cl! ean repl acement, Sheldon Mopes, a.k.a. Smoochy the Rhino (Edward Norton). Randolph is insanely obsessed with getting his job back, but Smoochy's a smash, and their war for kid-vid supremacy places a jaded "KidNet" producer (Catherine Keener) in the middle of a Rainbow/Rhino smackdown. A few lulls are easily forgiven since much of Death to Smoochy is laugh-out-loud hilarious, with DeVito, Robert Prosky, Jon Stewart, and Harvey Fierstein in choice supporting roles. It's no wonder DeVito's taboo-busting drew fire from family groups and actual kid-show producers; only the humorless would fail to laugh at Smoochy's uncompromised irreverence. --Jeff Shannon Guaranteed to please anyone who thinks Barney is Satan's spawn, Death to Smoochy mines comedy gold by skewering children's television. Adam Resnick's easy-target satire blossoms under the demented influence of director-costar Danny DeVito, who honors his legacy of venom-laced humor with the raucous rivalry o! f scandalized former kid-show host Rainbow Randolph (Robin Williams) and his squeaky-clean replacement, Sheldon Mopes, a.k.a. Smoochy the Rhino (Edward Norton). Randolph is insanely obsessed with getting his job back, but Smoochy's a smash, and their war for kid-vid supremacy places a jaded "KidNet" producer (Catherine Keener) in the middle of a Rainbow/Rhino smackdown. A few lulls are easily forgiven since much of Death to Smoochy is laugh-out-loud hilarious, with DeVito, Robert Prosky, Jon Stewart, and Harvey Fierstein in choice supporting roles. It's no wonder DeVito's taboo-busting drew fire from family groups and actual kid-show producers; only the humorless would fail to laugh at Smoochy's uncompromised irreverence. --Jeff Shannon Guaranteed to please anyone who thinks Barney is Satan's spawn, Death to Smoochy mines comedy gold by skewering children's television. Adam Resnick's easy-target satire blossoms under the demented influence of dir! ector-costar Danny DeVito, who honors his legacy of venom-lace! d humor with the raucous rivalry of scandalized former kid-show host Rainbow Randolph (Robin Williams) and his squeaky-clean replacement, Sheldon Mopes, a.k.a. Smoochy the Rhino (Edward Norton). Randolph is insanely obsessed with getting his job back, but Smoochy's a smash, and their war for kid-vid supremacy places a jaded "KidNet" producer (Catherine Keener) in the middle of a Rainbow/Rhino smackdown. A few lulls are easily forgiven since much of Death to Smoochy is laugh-out-loud hilarious, with DeVito, Robert Prosky, Jon Stewart, and Harvey Fierstein in choice supporting roles. It's no wonder DeVito's taboo-busting drew fire from family groups and actual kid-show producers; only the humorless would fail to laugh at Smoochy's uncompromised irreverence. --Jeff Shannon Guaranteed to please anyone who thinks Barney is Satan's spawn, Death to Smoochy mines comedy gold by skewering children's television. Adam Resnick's easy-target satire blossoms under the ! demented influence of director-costar Danny DeVito, who honors his legacy of venom-laced humor with the raucous rivalry of scandalized former kid-show host Rainbow Randolph (Robin Williams) and his squeaky-clean replacement, Sheldon Mopes, a.k.a. Smoochy the Rhino (Edward Norton). Randolph is insanely obsessed with getting his job back, but Smoochy's a smash, and their war for kid-vid supremacy places a jaded "KidNet" producer (Catherine Keener) in the middle of a Rainbow/Rhino smackdown. A few lulls are easily forgiven since much of Death to Smoochy is laugh-out-loud hilarious, with DeVito, Robert Prosky, Jon Stewart, and Harvey Fierstein in choice supporting roles. It's no wonder DeVito's taboo-busting drew fire from family groups and actual kid-show producers; only the humorless would fail to laugh at Smoochy's uncompromised irreverence. --Jeff Shannon dvdDeath to Smoochy reproduction poster print

Pop Culture Graphics, Inc is Amazon's largest! source for movie and TV show memorabilia, poster and more: Of! fering t ens of thousands of items to choose from. We also offer a full selection of framed posters..

Customer satisfaction is always guaranteed when you buy from Pop Culture Graphics,Inc

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Beauty and the Beast

• the beauty and the beast
• Belle
• Picture frame
• photo frame
• bell photo frame

This "tale as old as time" follows the adventures of Belle, a bright young woman who finds herself imprisoned in the castle of a mysterious beast. With the assistance of the castle's enchanted staff, a delightful and tender romance develops between these two unlikely friends and Belle soon learns the most important lesson of all â€" that true beauty comes from within.The film that officially signaled Disney's animation renaissance (following The Little Mermaid) and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beast remains the yardstick by which all other animated films should be measured. It relates the story of Belle, a bookworm with a dotty inventor for a father; when he inadvertently offends the Beast (a prince whose heart is! too hard to love anyone besides himself), Belle boldly takes her father's place, imprisoned in the Beast's gloomy mansion. Naturally, Belle teaches the Beast to love. What makes this such a dazzler, besides the amazingly accomplished animation and the winning coterie of supporting characters (the Beast's mansion is overrun by quipping, dancing household items) is the array of beautiful and hilarious songs by composer Alan Menken and the late, lamented lyricist Howard Ashman. (The title song won the 1991 Best Song Oscar, and Menken's score scored a trophy as well.) The downright funniest song is "Gaston," a lout's paean to himself (including the immortal line, "I use antlers in all of my de-co-ra-ting"). "Be Our Guest" is transformed into an inspired Busby Berkeley homage. Since Ashman's passing, animated musicals haven't quite reached the same exhilarating level of wit, sophistication, and pure joy. --David Kronke --This text refers to an out of print or una! vailable edition of this title.

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Double Feature (Analyze This / Analyze That)

• Mob boss Paul Vitti's going a little wacky. His shrink's afraid of getting whacked. Think you got troubles? Robert De Niro plays the troubled crime-family racketeer and Billy Crystal is Ben Sobel, the psychiatrist with just a few days to turn Vitti into a happy, well-adjusted gangster in Analyze This [Side A], the drop-dead funny comedy from Caddyshack director Harold Ramis. Stars and director ret

Mob boss Paul Vitti's going a little wacky. His shrink's afraid of getting whacked. Think you got troubles? Robert De Niro plays the troubled crime-family racketeer and Billy Crystal is Ben Sobel, the psychiatrist with just a few days to turn Vitti into a happy, well-adjusted gangster in Analyze This [Side A], the drop-dead funny comedy from Caddyshack director Harold Ramis. Stars and director reteam to prove laughter is still the best therapy in Analyze That [Side B]. This time, Vitti is released f! rom Sing Sing into the custody of his therapist. Can jittery Ben help Vitti find gainful employment? Can he even believe Vitti's gone legit when guys like Lou the Wrench keep showing up? You think you got troubles?Fuhgedaboudit!

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