Be Cool

• ISBN13: 9780060777067
• Condition: Used - Very Good
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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 ShannonDisc 1: GET SHORTY Disc 2: BE COOL

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 ! target of Russian gangsters. But where others see danger, Chil! i Palmer sees 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 an! d cool 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 ! apparatus and the task of a sequel writer.

Be Cool surp asses 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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Tool Logic T1 Business Card Twin Pack

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What was she doing here? Hyattown had changed very little in the years Vanessa Sexton had been away. In some ways her high school sweetheart, Brady Tucker, hadn't changed much eitherâ€"he was still lean, athletic, rugged…But the once reckless boy had become a solid, dependable man. He'd stood her up on the most important night of her life; could she ever trust him again?

So Vanessa had finally come home,! Brady thought. She could still turn him inside out with one of her sultry looks. He couldn't believe she hadn't forgiven him for that night twelve years agoâ€"but he'd had his reasons for not showing up. He'd let her leave town thenâ€"but he wasn't going to let her get away this time…

What was she doing here? Hyattown had changed very little in the years Vanessa Sexton had been away. In some ways her high school sweetheart, Brady Tucker, hadn't changed much eitherâ€"he was still lean, athletic, rugged…But the once reckless boy had become a solid, dependable man. He'd stood her up on the most important night of her life; could she ever trust him again?

So Vanessa had finally come home, Brady thought. She could still turn him inside out with one of her sultry looks. He couldn't believe she hadn't forgiven him for that night twelve years agoâ€"but he'd had his reasons for not showing up. He'd let her leave town thenâ€"but he wasn't going to let her get away t! his time…

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Blair Witch Project - Logo - Knit Hat

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In the fall of 1994, three student filmmakers, Heather Donahue, Joshua Leonard, and Michael Williams, ventured into the Black Hills of Maryland to investigate the legend of the Blair Witch. They never returned and to this day are still considered missing. However, one year after their disappearance, their footage was discovered. Directors Eduardo Sanchez and Gregg Hale edited the footage and released it as the movie titled The Blair Witch Project. As a companion to the movie, occult journalist D.A. Stern compiled this dossier, unearthing deeper mysteries surrounding the students' disappearance. It includes a full account of the case from a private investigator, polic! e reports, newspaper articles, student profiles, interviews with the students' families and friends, and the most revealing artifact--37 pages from Heather Donahue's journal. We also get a comprehensive history of the Blair Witch legend, complete with a copy of an 1823 newspaper article.

The hype surrounding The Blair Witch Project is a rare phenomenon in which a purely fictitious film (sorry to burst the occult lover's bubble, but there is no Blair Witch myth; and those missing filmmakers are actors who are alive and well) creates a legend in and of itself. The collected data found in this dossier lends more eerie authenticity to the whole affair. This is an outstanding compilation for its acute attention to detail and ability to enhance the mystery, which in the end is the real charm of this portfolio. --Samantha Allen StoreyBLAIR WITCH PROJECT - DVD MovieThe Blair Witch Project
Anyone who has even the slightest trouble with! insomnia after seeing a horror movie should stay away from The Bla ir Witch Project--this film will creep under your skin and stay there for days. Credit for the effectiveness of this mock documentary goes to filmmakers Daniel Myrick and Eduardo Sanchez, who armed three actors (Heather Donahue, Michael Williams, and Josh Leonard) with video equipment, camping supplies, and rough plot outlines. They then let the trio loose into the Maryland woods to improvise and shoot the entire film themselves as the filmmakers attempted to scare the crap out of them. Gimmicky, yes, but it worked--to the wildly successful tune of $130 million at the box office upon its initial release (the budget was a mere $40,000).

For those of you who were under a rock when it first hit the theaters, The Blair Witch Project tracks the doomed quest of three film students shooting a documentary on the Burkittsville, Maryland, legend of the Blair Witch. After filming some local yokels (and providing only scant background on the witch herself), the three, le! d by Heather (something of a witch herself), head into the woods for some on-location shooting. They're never seen again. What we see is a reconstruction of their "found" footage, edited to make a barely coherent narrative. After losing their way in the forest, whining soon gives way to real terror as the three find themselves stalked by unknown forces that leave piles of rocks outside their campsite and stick-figure art projects in the woods. (As Michael succinctly puts it, "No redneck is this clever!") The masterstroke of the film is that you never actually see what's menacing them; everything is implied, and there's no terror worse than that of the unknown. If you can wade through the tedious arguing--and the shaky, motion-sickness-inducing camerawork--you'll be rewarded with an oppressively sinister atmosphere and one of the most frightening denouements in horror-film history. Even after you take away the monstrous hype, The Blair Witch Project remains a g! enuine, effective original. --Mark Englehart

! Curse of the Blair Witch
Are you wondering just exactly who the Blair Witch was? What the Burkittsville, Maryland, legend was all about? Or what exactly fascinated student filmmaker Heather and what possibly took her, Mike, and Josh from this earth? Get all your background questions answered by Curse of the Blair Witch, a one-stop-shopping "documentary" originally produced for the Sci-Fi Channel as a tie-in marketing tool. Entirely fictionalized, Curse of the Blair Witch focuses both on the past and the present, with copious info on the Blair Witch myth as well as on the disappearance of Heather, Josh, and Mike. As it turns out, the original witch was one Elly Kedward, who was accused in 1785 of taking blood from several children; she was subsequently banished to the harsh winter woods and left for dead. Her grisly and bloody legacy involves missing children, polluted water, disemboweled men, and a serial killer of children who claims to have been haunted b! y "an old woman ghost." Aside from some ineffective "newsreel" footage of the serial killer, all this intriguing information is presented convincingly and chillingly. Curse may in fact freak you out more than the movie, and it evokes the great, pulpy In Search Of series of the '70s, one of the prime inspirations for filmmakers Daniel Myrick and Eduardo Sanchez. News clips of the search for Heather, Josh, and Mike lend a vérité atmosphere to the proceedings, but shed little light on their mysterious disappearance or their characters. Basically, it's a tease to go see the movie. Still, The Blair Witch Project provided only ever-so-slight information on the legend that haunted the forest, so you'll want this cleverly constructed mock documentary to supplement your knowledge of the film. --Mark EnglehartJapanese edition of the soundtrack to the hit 1999 horror film in special packaging for the initial pressing only, a duotone cardboard slipcase box! with an image of the forest the movie's three characters disa! ppear in . The disc itself comes in a standard jewelcase & is an enhanced release with rare & exclusive film footage. Musically, it contains 12 haunting tracks by alternative acts of '80s & '90s. 1999 release.The soundtrack for a film with no music? Yes, it's true. Josh's Blair Witch Mix takes the high concept of "music inspired by the film" to new extremes: this is the mix tape found in Josh's car on the fateful night the "documentary" was filmed. Whatever the case, Josh's is filled with the doom-and-gloom sounds of vintage goth and industrial tracks and the occasional "scared silly" movie sound bites. It's a strong compilation with classic tunes by Lydia Lunch, P.I.L., Bauhaus, the Creatures, Front Line Assembly, and others. The included enhanced CD video snippet contains footage not found in the actual film. Ironic: one thing that makes The Blair Witch Project so believable is the fact that it lacks the typical clichéd horror-movie sound effects.! Luckily, this "soundtrack" is far from clichéd and every bit as creative as its movie counterpart. The only thing creepier would be if Josh had been listening to a tape of smooth jazz.... --Jason VerlindeAnyone who has even the slightest trouble with insomnia after seeing a horror movie should stay away from The Blair Witch Project--this film will creep under your skin and stay there for days. Credit for the effectiveness of this mock documentary goes to filmmakers Daniel Myrick and Eduardo Sanchez, who armed three actors (Heather Donahue, Michael Williams, and Josh Leonard) with video equipment, camping supplies, and rough plot outlines. They then let the trio loose into the Maryland woods to improvise and shoot the entire film themselves as the filmmakers attempted to scare the crap out of them. Gimmicky, yes, but it worked--to the wildly successful tune of $130 million at the box office upon its initial release (the budget was a mere $40,000).

For t! hose of you who were under a rock when it first hit the theate! rs, T he Blair Witch Project tracks the doomed quest of three film students shooting a documentary on the Burkittsville, Maryland, legend of the Blair Witch. After filming some local yokels (and providing only scant background on the witch herself), the three, led by Heather (something of a witch herself), head into the woods for some on-location shooting. They're never seen again. What we see is a reconstruction of their "found" footage, edited to make a barely coherent narrative. After losing their way in the forest, whining soon gives way to real terror as the three find themselves stalked by unknown forces that leave piles of rocks outside their campsite and stick-figure art projects in the woods. (As Michael succinctly puts it, "No redneck is this clever!") The masterstroke of the film is that you never actually see what's menacing them; everything is implied, and there's no terror worse than that of the unknown. If you can wade through the tedious arguing--and th! e shaky, motion-sickness-inducing camerawork--you'll be rewarded with an oppressively sinister atmosphere and one of the most frightening denouements in horror-film history. Even after you take away the monstrous hype, The Blair Witch Project remains a genuine, effective original. --Mark Englehart No Description AvailableNo Description AvailableThe Stickman logo from Blair Witch Project shows up yet again, only this time it's on the front of this almost "heathered" black knit cap! Guaranteed to keep you warm on those cool nights in the woods!

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Four Minutes

• For over sixty years, aged pianist Traude Kr ger has been teaching piano at the women's prison. But she's never met someone like Jenny, a convicted killer beating everything around her to a pulp just to amuse herself. But Jenny used to be a great musical talent. And she still is under her impenetrable facade. She could manage to win a prestigious piano contest she is allowed to participate

For over sixty years, aged pianist Traude Krüger has been teaching piano at the women s prison. But she s never met someone like Jenny, a convicted killer beating everything around her to a pulp just to amuse herself. But Jenny used to be a great musical talent. And she still is under her impenetrable facade. She could manage to win a prestigious piano contest she is allowed to participate in despite her prison sentence. However, a contest is no challenge to someone who wants life to stand still.Four Mi! nutes recalls the lineage of films dedicated to marginalized characters who find solace in piano playing, such as Jane Campion’s The Piano, yet there is more to this drama than the story of a woman yearning for autonomy. Jenny (Hannah Herzsprung), a prisoner described as the type to "steal a smoke from a corpse" by another inmate, is wasting away in a German penitentiary until she is recruited by piano teacher, Traude Krüger (Monica Bleibtrau), to train for a contest coming up. Krüger, who sees Jenny’s fingers keying organ music on her church pew in Sunday mass, realizes Jenny’s innate talent and slowly heals her student through music as well as through conversations revealing their mutually difficult pasts. While Jenny’s violent outbursts continuously disrupt her piano privileges, Traude heroically defends Jenny in meetings with the hard-edged warden, Mr. Meyerbeer (Stefan Kurt). The crux of the story lies in the friendship forged between these women t! hrough Traude’s determination to heal her young prodigy. Thr! ough fla shback, the viewer learns what male violence was inflicted upon each lady. Four Minutes, subtitled from German, is a bit humorless, and one doesn’t glimpse even a slight smile on any character’s face until fifty minutes of film have rolled. Jenny’s outbursts at the piano as well, such as when she plays handcuffed to defy Meyerbeer, are overwrought. Still, the lack of sentimentality inherent to each character lends a wry realism to the intelligent script, such as when Ms. Krüger tells Jenny to stop playing "negro music," exposing her antiquated, uptight musical taste. Four Minutes succeeds at illustrating a relationship in which two women cut from different cloth share commonalities that assume a female essence, though at their core they crave a universal desire for freedom. --Trinie Dalton

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Umbra FishHotel Aquarium

• Stackable aquarium with striking modern design
• Glass bowl with removable ABS plastic façade and asymmetrical windows
• Can stack other FishHotels for tall condo-like appearance
• Detachable outer shell can be painted
• 7.5 x 7.5 x 8 inches; 5 pounds

The Umbra FishHotel is an award-winning modern home for your finned friends. Modeled after a contemporary condominium, this reinvented aquarium features a sleek white shell with assymetrical "windows." Individual units can be stacked to create a condo effect. Glass bowl is removable for cleaning.

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