Monday, November 14, 2011

TCM Greatest Classic Films Collection: Murder Mysteries (The Maltese Falcon / The Big Sleep / Dial M for Murder / The Postman Always Rings Twice 1946)

  • THE MALTESE FALCON Some high-living lowlifes want to get their sweaty hands on a bejeweled falcon. Detective Sam Spade (Humphrey Bogart) wants to find out why and who ll take the fall for his pertner s murder. Sydney Greenstreet, Mary Astor, Peter Lorre and Elisha Cook Jr. co-star in a crackling masterwork directed and written for the screen by John Huston.THE BIG SLEEP (1946) L.A. private eye Phi
First, he was bugged by the almighty burger, now Oscar®-nominated renegade filmmaker Morgan Spurlock (Super Size Me) is biting the hand that feeds him by exposing Hollywood’s dirtiest little secret: the games they play to get advertisers’ products strategically placed in movies and on television. Spurlock uses his irreverent comedic style to infiltrate corporate boardrooms and ad agency pitch meetings to show how far they will go without our even knowing it! Since the advent of recording! devices and on-demand services, consumers have been bypassing commercials like never before, so advertising agencies have stepped up their use of product placement. In The Greatest Movie Ever Sold, Morgan Spurlock (Super Size Me) renders the process transparent as he documents his attempts to get Madison Avenue to fund his film. After a flood of rejections, he takes a series of meetings with companies willing to align their brand with his--and make no mistake, Spurlock is as much a brand as Donald Trump or Outkast's Big Boi, who show up to talk about product endorsement. The director's entertaining and enlightening journey even leads him to a juice purveyor that opens its wallet for placement above the title--hence the name of the pomegranate beverage which appears on all promotional materials. As one observer puts it, "You're selling out, but not selling out." For perspective, Spurlock solicits commentary from progressive thinkers, like Ralph Nader and Noam ! Chomsky, and Hollywood types, like J.J. Abrams, who created Lost, and Quentin Tarantino, who admits that a certain all-night diner rejected his offer to appear in Reservoir Dogs. Spurlock even travels to São Paulo to take a look at their ban on outdoor ads: no billboards or messages on cabs and buses, rendering the city clean and downright dull for those accustomed to American-style marketing. The film as a whole resembles a full-length version of a Mad Men pitch meeting--but funnier. --Kathleen C. FennessyFirst, he was bugged by the almighty burger, now Oscar®-nominated renegade filmmaker Morgan Spurlock (Super Size Me) is biting the hand that feeds him by exposing Hollywood’s dirtiest little secret: the games they play to get advertisers’ products strategically placed in movies and on television. Spurlock uses his irreverent comedic style to infiltrate corporate boardrooms and ad agency pitch meetings to show how far they will go without our even knowing it! Since the advent of recording devices and ! on-demand services, consumers have been bypassing commercials like never before, so advertising agencies have stepped up their use of product placement. In The Greatest Movie Ever Sold, Morgan Spurlock (Super Size Me) renders the process transparent as he documents his attempts to get Madison Avenue to fund his film. After a flood of rejections, he takes a series of meetings with companies willing to align their brand with his--and make no mistake, Spurlock is as much a brand as Donald Trump or Outkast's Big Boi, who show up to talk about product endorsement. The director's entertaining and enlightening journey even leads him to a juice purveyor that opens its wallet for placement above the title--hence the name of the pomegranate beverage which appears on all promotional materials. As one observer puts it, "You're selling out, but not selling out." For perspective, Spurlock solicits commentary from progressive thinkers, like Ralph Nader and Noam Chomsky, and ! Hollywood types, like J.J. Abrams, who created Lost, an! d Quenti n Tarantino, who admits that a certain all-night diner rejected his offer to appear in Reservoir Dogs. Spurlock even travels to São Paulo to take a look at their ban on outdoor ads: no billboards or messages on cabs and buses, rendering the city clean and downright dull for those accustomed to American-style marketing. The film as a whole resembles a full-length version of a Mad Men pitch meeting--but funnier. --Kathleen C. FennessyOscar nominated, boundary pushing director Morgan Spurlock's POM Wonderful Presents: The Greatest Movie Ever Sold that looks with humorous insight into the world of product placement and marketing. Providing the soundtrack to this insightful and humorous documentary are a wide array of artist, including two originals tracks recorded specifically for the soundtrack, a spoken word piece from director Morgan Spurlock and a track entitled "The Greatest Song I Ever Heard" by the band OK Go, who isn't shy about their associations ! with brands and product placement.THE MALTESE FALCON Some high-living lowlifes want to get their sweaty hands on a bejeweled falcon. Detective Sam Spade (Humphrey Bogart) wants to find out why â€" and who’ll take the fall for his pertner’s murder. Sydney Greenstreet, Mary Astor, Peter Lorre and Elisha Cook Jr. co-star in a crackling masterwork directed and written for the screen by John Huston. THE BIG SLEEP (1946) L.A. private eye Philip Marlowe (Humphrey Bogart) takes on a blackmail case…and wears out his gumshoes trailing murderers, nightclub rogues, the spoiled rich and more. Lauren Bacall joins Bogart under Howard Hawks’ brisk and atmospheric direction of an ace adaptation of Raymond Chandler’s novel. DIAL M FOR MURDER Alfred Hitchcock’s screen version of Frederick Knott’s stage hit casts Grace Kelly, Ray Milland and Robert Cummings as points of a romantic triangle. She loves Cummings; her husband Milland plots her murder. But when he dials a Mayfai! r exchange to set the plot in motion, his right number gets th! e wrong answer! THE POSTMAN ALWAYS RINGS TWICE (1946) Based on the novel by James M. Cain (Double Indemnity, Mildred Pierce), this quintessential film noir stars John Garfield and Lana Turner as illicit lovers who botch a first attempt to bump off her husband, pull it off and betray each other at trial. Amorous attractions never proved so fatal as in this steamy, stormy classic.

The Darjeeling Limited Poster Movie 11x17 Owen Wilson Adrien Brody Jason Schwartzman Natalie Portman

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Music plays a huge part in director Wes Anderson's meticulously crafted world. For this movie set in India, he's come up with a typically wide-ranging, mind-boggling soundtrack largely culled from the mid-'60s and early '70s, despite the fact that the film is set in the present. Though Indian cinema has come to mean Bollywood for most Americans, Anderson pays tribute to art filmmaker Satyajit Ray by including music from some of his movies, mines the early (1963-1970), lesser-known oeuvre of Ja! mes Ivory, and features traditional Indian tunes. This may throw fans of Bollywood's more frantic style at first (even if the upbeat go-go "Typewriter Tip, Tip, Tip," co-sung by superstar Asha Bhosle, gets close), but the music's eerie charm works in insidious ways. British Invasion pop, an enduring love of Anderson's, is represented by obscure songs from well-known combos (three cuts from the Kinks' 1970 album Lola versus Powerman and the Moneygoround, Part One), as well as obscure songs from obscure performers, like Peter Sarstedt's 1969 nugget "Where Do You Go To (My Lovely)." Add a fantastic Rolling Stones pop tune from 1965, a couple of Western classical tracks, a popular French hit by Joe Dassin, and you have a CD that's all over the map yet oddly consistent in its eccentricity. --Elisabeth VincentelliOwen Wilson, Adrien Brody, and Jason Schwartzman star as three brothers who have drifted apart over the years and try to re-forge their sibling bonds on a ! hilarious adventure across India. The Royal Tennenbaums meets ! Lost in Translation.

Family tension again provides dramatic comedy in Wes Anderson's new film, The Darjeeling Limited, about three American brothers traveling by train to find their reclusive mother in rural India. Like Royal Tenenbaums, this film succeeds because of its smart, funny script in addition to the visual beauty of India and its luxurious locomotive transportation. In Darjeeling, the oldest brother, Francis (Owen Wilson), blackmails his two younger siblings, Peter (Adrien Brody), and Jack (Jason Schwartzman), into traveling to a monastery where their mother, Patricia (Anjelica Huston), has been in hiding as a nun. Supposedly embarking on a spiritual quest, the three men reminisce about the recent death of their father, and the family's irreconcilable problems previous to their reunification. Though they do find Patricia, Francis, Peter, and Jack grow immensely from another brush with death, this time an Indian boy they try to rescue, giving the film! an added conceptual depth that Anderson's previous films have been accused of lacking. Co-written by Roman Coppola (CQ), The Darjeeling Limited is a finely-tuned critique of American materialism, emotional vacuity, and our lack of spiritualism, presented in ironic twists and gorgeous cinematography and lighting recalling Altman's McCabe & Mrs. Miller. A lovely, poignant sequence occurs while the three brothers attend a traditional Indian funeral, and flash back to their father's one year prior. Moreover, the film's soundtrack culled from Satyajit Ray's films and vintage Kinks gives the film a timeless feel, removing it from the predictable indie rock scoring of independent releases. By far Anderson's best film thus far, The Darjeeling Limited offers a much-needed dose of cultural self-reflection, pillared against India's ever-evolving yet ancient religious backbone. --Trinie Dalton


Beyond The Darje! eling Limited


The Darjeeling Limited Soundtrack

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In THE DARJEELING LIMITED, from director Wes Anderson (Rushmore, Fantastic Mr. Fox), three estranged American brothers reunite for a meticulously planned, soul-searching train voyage across India, one year after the death of their father. For reasons involving over-the-counter painkillers, Indian cough syrup, and pepper spray, the brothers eventually find themselves stranded alone in the middle of the desertâ€"where a new, unplanned chapter of their journey begins. Featuring a sensational cast, including Owen Wilson (Armageddon, Wedding Cr! ashers), Adrien Brody (The Thin Red Line, The Pianist), Jason ! Schwartz man (Rushmore, HBO’s Bored to Death), and Anjelica Huston (Prizzi’s Honor, The Grifters), THE DARJEELING LIMITED is a visually dazzling and hilarious film that takes Anderson’s work to richer, deeper places than ever before.Family tension again provides dramatic comedy in Wes Anderson's new film, The Darjeeling Limited, about three American brothers traveling by train to find their reclusive mother in rural India. Like Royal Tenenbaums, this film succeeds because of its smart, funny script in addition to the visual beauty of India and its luxurious locomotive transportation. In Darjeeling, the oldest brother, Francis (Owen Wilson), blackmails his two younger siblings, Peter (Adrien Brody), and Jack (Jason Schwartzman), into traveling to a monastery where their mother, Patricia (Anjelica Huston), has been in hiding as a nun. Supposedly embarking on a spiritual quest, the three men reminisce about the recent death of their father, and the family's ir! reconcilable problems previous to their reunification. Though they do find Patricia, Francis, Peter, and Jack grow immensely from another brush with death, this time an Indian boy they try to rescue, giving the film an added conceptual depth that Anderson's previous films have been accused of lacking. Co-written by Roman Coppola (CQ), The Darjeeling Limited is a finely-tuned critique of American materialism, emotional vacuity, and our lack of spiritualism, presented in ironic twists and gorgeous cinematography and lighting recalling Altman's McCabe & Mrs. Miller. A lovely, poignant sequence occurs while the three brothers attend a traditional Indian funeral, and flash back to their father's one year prior. Moreover, the film's soundtrack culled from Satyajit Ray's films and vintage Kinks gives the film a timeless feel, removing it from the predictable indie rock scoring of independent releases. By far Anderson's best film thus far, The Darjeeling Lim! ited offers a much-needed dose of cultural self-reflection! , pillar ed against India's ever-evolving yet ancient religious backbone. --Trinie DaltonThe Darjeeling Limited Reproduction Poster Print Style A 11 x 17 Inches -28cm x 44cm

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Harry Potter and the Chamber of Secrets (Full Screen Edition)

  • The next installment in the Harry Potter series finds young wizard Harry Potter (DANIEL RADCLIFFE) and his friends Ron Weasley (RUPERT GRINT) and Hermione Granger (EMMA WATSON) facing new challenges during their second year at Hogwarts School of Witchcraft and Wizardry as they try to uncover a dark force that is terrorizing the school. Format: DVD MOVIE Genre: SCI-FI/FANTASY Rating:&nb
From Christopher Munch, the director of The Hours and Times, comes this unforgettable tale of intense brotherly love. Harry (Bryce Johnson) is a 23-year-old former boy-band idol who is watching his 16-year-old brother Max (Cole Williams of Boys Life 4) follow in his footsteps. Harry escorts Max on a long-promised camping trip to Los Angeles' San Gabriel Mountains. What starts out as fun quickly turns serious as they bond in ways that neither could have anticipated. Artful and provocative, sexy and controversia! l, Harry and Max proves that the road to adulthood is never a straight line.The next installment in the Harry Potter series finds young wizard Harry Potter (DANIEL RADCLIFFE) and his friends Ron Weasley (RUPERT GRINT) and Hermione Granger (EMMA WATSON) facing new challenges during their second year at Hogwarts School of Witchcraft and Wizardry as they try to uncover a dark force that is terrorizing the school.First sequels are the true test of an enduring movie franchise, and Harry Potter and the Chamber of Secrets passes with flying colors. Expanding upon the lavish sets, special effects, and grand adventure of Harry Potter and the Sorcerer's Stone, Harry's second year at Hogwarts School of Witchcraft and Wizardry involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) to a ! 50-year-old mystery in the monster-laden Chamber of Secrets. H! ouse elv es, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by Sorcerer's Stone director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart (be sure to view past the credits for a visual punchline at Lockhart's expense). At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams' score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, Chamber honors the legacy of J.K. Rowling's novels. --Jeff Shannon

Alli Weight-Loss Aid, Orlistat 60mg Capsules, 120-Count Refill Pack

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In 1964, a brash new pro boxer, fresh from his olympic gold medal victory, explodes on to the scene, Cassius Clay. Bold and outspoken, he cuts an entirely new image for African American's in sport with his proud public self confidence with his unapologetic belief that he is the greatest boxer of all time. To his credit, he sets out to prove that with his highly agile and forceful style soon making him a formidable boxer who soon claims the heavyweight championship. His personal life is no less noteworthy with his allegiance to the Nation of Islam, his friendship with the controversial Malcolm X and his abandonment of his slave name! in favour of Muhammad Ali stirring up controversy. Yet, at the top of his game, both Ali's personal and professional lives face the ultimate test with the military draft rules are changed, making him eligible for military induction during the Vietnam War. Despite the fact that he could easily agree to a sweetheart deal that would have meant an easy tour of duty for himself, Ali refuses to submit on principle to cooperate in an unjust war for a racist nation that treated his people so poorly. The cost of that stand is high as he finds himself unable to legally box in his own country while his case is contested in court. What follows is a battle for a man who would sacrifice so much for what he believes in and a comeback that would cement his legend as one of the great sports figures of all time.Ali is a rush of charm, violence, and well-crafted mythmaking sure to enthrall. From the unforgettable surge of the opening--a 10-minute montage of sheer brilliance where form! ative scenes from the early life of Cassius Clay float along o! n the ra pture of a live performance by Sam Cooke in a Harlem nightclub--through to Muhammad Ali's departure for Zaire to fight George Foreman, Michael Mann's homage is mostly crisp and fleet-footed. As Clay/Ali, Will Smith acquits himself marvelously due in large part to his uncanny re-creation of Ali's most famous weapon, his mesmerizing voice. Indeed, the best scenes throughout showcase Ali's verbal rather than pugilistic sparring; whether with his entourage (notably Jamie Foxx), Howard Cosell (Jon Voight), or Don King (Mykelti Williamson), Michael Mann's Ali has the same authoritative wit and ability to surprise that so disarmed the public. The news conferences and behind-the-scenes banter are exquisitely re-created; not so Ali's flaws. Mann's attempt to depict Ali's womanizing, his dubious affiliation with the Nation of Islam, and his insatiable need for the spotlight seems halfhearted and laborious in comparison to the film's enlivened adoration of its subject. As the sluggish ! second half of the film betrays, Ali is at its impressionistic best when it's in awe rather than when it explains. --Fionn Meade ALI:DIRECTOR'S CUT - DVD MovieAli is a rush of charm, violence, and well-crafted mythmaking sure to enthrall. From the unforgettable surge of the opening--a 10-minute montage of sheer brilliance where formative scenes from the early life of Cassius Clay float along on the rapture of a live performance by Sam Cooke in a Harlem nightclub--through to Muhammad Ali's departure for Zaire to fight George Foreman, Michael Mann's homage is mostly crisp and fleet-footed. As Clay/Ali, Will Smith acquits himself marvelously due in large part to his uncanny re-creation of Ali's most famous weapon, his mesmerizing voice. Indeed, the best scenes throughout showcase Ali's verbal rather than pugilistic sparring; whether with his entourage (notably Jamie Foxx), Howard Cosell (Jon Voight), or Don King (Mykelti Williamson), Michael Mann's Ali has! the same authoritative wit and ability to surprise that so di! sarmed t he public. The news conferences and behind-the-scenes banter are exquisitely re-created; not so Ali's flaws. Mann's attempt to depict Ali's womanizing, his dubious affiliation with the Nation of Islam, and his insatiable need for the spotlight seems halfhearted and laborious in comparison to the film's enlivened adoration of its subject. As the sluggish second half of the film betrays, Ali is at its impressionistic best when it's in awe rather than when it explains. --Fionn Meade Studio: Lions Gate Home Ent. Release Date: 12/29/2009 Run time: 100 minutes Rating: RHe rocked the sport, shook the world, and changed their lives. Now, several decades after they met in the ring, ten of the sport's finest fighters tell what it was like to battle Muhammad Ali, the man many consider the best boxer ever. This brutally honest documentary recounts Ali's incomparable journey as seen through the eyes of those who stepped through the ropes and into history. Join these resp! ected fighters as they weigh in on "The Greatest" and pay tribute to a living legend in this powerful and unforgettable film.

alli is more than just a pill. It's an innovative we! ight los s program that works with you, not for you. alli can help you lose 50% more weight than dieting alone, but you have to do your part by changing the way you eat and live to see results. Is the hard work worth it? Yes. With alli you can achieve gradual and healthy weight loss. If you do your part, alli can teach you smart eating and activity habits you can follow for a lifetime.
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Grace Is Gone

  • Though 2007 saw a flood of Iraq-related films, GRACE IS GONE takes a different approach from many of the others. Unlike REDACTED and LIONS FOR LAMBS, this directorial debut from screenwriter James C. Strouse (LONESOME JIM) doesn't focus on the conflict itself. Instead, the drama looks at how the death of a female soldier affects her family at home. John Cusack (1408) is Stanley Phillips, a hus
In one of his most acclaimed performances, John Cusack makes an astonishing transformation as Stanley Philips, a sad, disconnected man unable to tell his young daughters their mother, a soldier, has died in Iraq. Instead, he takes the girls on a road trip, where their innocent charm helps him rediscover a healing joy he thought he'd lost forever.Unlike previous Iraq War films, the poignant directorial debut from writer James C. Strouse (Lonesome Jim) uses the conflict as starting point rather th! an subject. Early in the proceedings, Stanley (John Cusack) finds out his wife has been killed in the line of duty. The bespectacled disciplinarian decides not to tell his daughters right away. In his younger days, Stanley tried to serve his country, but poor eyesight dashed that dream, and now he's a superstore manager. The sort of middle-American conservative rarely seen at the art house, Stanley believes in his president. That doesn't alleviate his pain. Putting on a brave face, he asks his oblivious girls for their greatest wish. Eight-year-old Dawn (Gracie Bednarczyk) exclaims, "Enchanted Gardens!" With that, they hop in their SUV and drive from Minnesota to the Florida theme park. Twelve-year-old Heidi (Shélan O'Keefe) knows something is wrong--her dad isn't the spontaneous type--but she doesn't know what it is. En route, they visit Stanley's brother, John (Alessandro Nivola), who offers some insight into their bottled-up father. By the end of the trip, Stanley figur! es out how to break the news, in the process becoming a real p! arent. A fter winning the Audience Award at Sundance, Clint Eastwood, Cusack's Midnight in the Garden of Good and Evil director, gave the soundtrack a jazz-oriented overhaul. In tone, it's almost too refined for the blue-collar world Strouse depicts, but never distracting. More importantly, Grace Is Gone features Cusack’s finest performance to date. --Kathleen C. Fennessy

The Affair of the Necklace

  • A romantic drama based on the controversial true story of Jeanne De La Motte Valois, a countess whose name was stripped from her by the Royal Family during the late 18th Century. The story of her fight to restore her name and proper place in society is filled with mystery, intrigue and desire, with an infamous diamond necklace at the center of it all.Running Time: 118 min. Format: DVD MOVIE G
The Necklace Affair
by Ashley Gardner
A Captain Lacey Regency Mysteries novella

London 1817
Captain Lacey agrees to track down the missing necklace of a society matron and prove the innocence of her maid, who has been arrested for the theft. Lady Clifford declares that the rival for her husband's affections has stolen the necklace, but Lacey soon realizes that the problem is not so simple. He recruits Lady Breckenridge to infiltrate the Clifford household, while Lacey and his fr! iend Lucius Grenville follow other leads. The investigation digs up scandal and past secrets, and Lacey finds himself competing with the underworld criminal, James Denis, for the necklace's retrieval.

This is a 25,000-word (ten-chapter) novella. The events in it occur between the end of The Sudbury School Murders and the beginning of A Body in Berkeley Square.
The Necklace Affair
by Ashley Gardner
A Captain Lacey Regency Mysteries novella

London 1817
Captain Lacey agrees to track down the missing necklace of a society matron and prove the innocence of her maid, who has been arrested for the theft. Lady Clifford declares that the rival for her husband's affections has stolen the necklace, but Lacey soon realizes that the problem is not so simple. He recruits Lady Breckenridge to infiltrate the Clifford household, while Lacey and his friend Lucius Grenville follow other leads. The investigation digs up scandal and past secrets, and Lacey finds ! himself competing with the underworld criminal, James Denis, f! or the n ecklace's retrieval.

This is a 25,000-word (ten-chapter) novella. The events in it occur between the end of The Sudbury School Murders and the beginning of A Body in Berkeley Square.
WEALTH AND DESIRE. POLITICS AND CORRUPTION. CELEBRITY AND SEXUALITY. AN 18TH-CENTURY FRENCHWOMAN COMBINES THEM ALL IN A TREACHEROUS SCHEME TO ACQUIRE THE 2800-CARAT DIAMOND NECKLACE THAT WILL ENABLE HER TO BUY BACK THE ROYAL STATUS TAKEN FROMHER.For all its earnest intrigue, historically accurate references, and elaborate set design, The Affair of the Necklace is best enjoyed as a comedy of Hollywood errors. The court of late-18th-century France is ruled by Marie Antoinette (Joely Richardson), whose confidence and favor is yearned for by Jeanne de la Motte-Valois (Hilary Swank), a young woman stripped of her title and orphaned at a young age. As flashbacks repeatedly remind the audience, Jeanne is essentially pure at heart even as she takes up with a court gigolo (Simon Baker) a! nd enacts the intricate scheme from which the title is drawn. Soon embroiled in Jeanne's plan to win back her rightful place in the world are her avaricious husband of convenience, Nicolas (Adrien Brody); the soon-to-be-disposed-of Marie Antoinette; the salacious Cardinal Rohan (Jonathan Pryce); a necklace of questionable taste; and a host of other players. All the makings for a hilarious romp (à la Ridicule) are in place, but director Charles Shyer, with his lavish budget in tow, wants the film to be taken seriously. Only Christopher Walken, in a hilarious turn as the fraudulent soothsayer Count Cagliostro, sees through the facile script and relishes his part in what will no doubt prove a colossal flop. --Fionn Meade

The Hunting of the President: The Ten-Year Campaign to Destroy Bill and Hillary Clinton

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When Hillary Clinton spoke of "a vast right-wing conspiracy" determined to bring down the president, many people dismissed the idea. Yet if the first lady's accusation was exaggerated, the facts that have since emerged point toward a covert and often concerted effort by Bill Clinton's enemies--abetted by his own reckless behavior--which led inexorably to impeachment. Clinton's foes launched a cascade of well-financed attacks that undermined American democracy and nearly destroyed the Clinton presidency.

In vivid prose, Joe Conason and Gene Lyons, two award-winning veteran journalists, identify the antagonists, reveal their tactics, trace the millions of dollars that subsidized them, and ! examine how and why mainstream news organizations aided those who were determined to bring down Bill Clinton, The Hunting of the President may very well be the All the President's Men of this political regime.
Unhappy reading for Republicans or political naïfs, The Hunting of the President is the story of a sustained and well-funded effort to discredit and defeat Bill Clinton, dating from his gubernatorial days in Arkansas and eventually leading to his impeachment trial. Award-winning journalists Joe Conason and Gene Lyons have crafted a tale as compulsively readable as a political thriller--paced, and at times worded, like a summer bestseller. Although they provide ample evidence of backstabbing, revenge, deceit, conniving, and "dirty tricks" in the struggle to oust Clinton, arguing that "the better the president and the country did, the more his adversaries appeared willing to endorse almost anything short of assassination to do him in," the! y also acknowledge that Clinton's reckless behavior, along wit! h the "p anicky, defensive, and occasionally less-than-perfectly-honest" responses of the White House press office, didn't hurt his opponents. Investigative journalism at its juiciest, The Hunting of the President is a surprising valediction to a far-from-angelic public leader who often outmaneuvered his enemies with otherworldly skill. --Regina Marler

Moneymakers: The Wicked Lives and Surprising Adventures of Three Notorious Counterfeiters

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The lively and enthralling tale of three notorious counterfeiters offers insights into the makings of the American financial mind.

In Moneymakers, Ben Tarnoff chronicles the lives of three colorful counterfeiters who flourished in early America, shedding fresh light on the country's financial coming of age. The speculative ethos that pervades Wall Street today, Tarnoff suggests, has its origins in the craft of counterfeiters who first took advantage of a turbulent American economy.

Few nations have as rich a counterfeiting history as the United States. Since the colonies suffered from a chronic shortage of precious metals, they were the first place in the Western world ! to use easily forged paper bills. And until the national currency was standardized in the last half of the nineteenth century, the United States had a dizzying variety of banknotes, making early America a counterfeiter's paradise.

In Moneymakers, Tarnoff recounts how three of America's most successful counterfeiters-Owen Sullivan, David Lewis, and Samuel Upham- each cunningly manipulated the political and economic realities of his day, driven by a desire for fortune and fame. Irish immigrant Owen Sullivan (c. 1720-1756) owed his success not just to his hustler's charm and entrepreneurial spirit, but also to the weak law enforcement and craving for currency that marked colonial America. The handsome David Lewis (1788-1820) became an outlaw hero in backwoods Pennsylvania, infamous for his audacious jailbreaks and admired as a Robin Hood figure who railed against Eastern financial elites. Shopkeeper Samuel Upham (1819-1885) sold fake Confederate bills to his fe! llow Philadelphians during the Civil War as "mementos of the r! ebellion ," enraging Southern leaders when Union soldiers flooded their markets with the forgeries.

Through the tales of these three memorable counterfeiters, Moneymakers spins the larger story of America's financial ups and downs during its infancy and adolescence, tracing its evolution from a patchwork of colonies to a powerful nation with a single currency. It was only toward the end of the Civil War that a strengthened federal government created the Secret Service to police counterfeiting, finally bringing the quintessentially American pursuit to an end. But as Tarnoff suggests in this highly original financial history, the legacy of early American counterfeiters lives on in the get-rich-quick culture we see on Wall Street today.
Author Q&A with Ben Tarnoff

Q: Can you explain the significance of the title Moneymakers?

A: “Moneymaker” was the colonial word for counterfeiter. When Owen Sullivan, the first counterfeiter profiled in my book, gets into a drunken fight with his wife in Boston in 1749, she calls him a “forty-thousand-pound moneymaker.” The neighbors overhear this remark and tell the police, who discover fake bills and printing materials at Sullivan’s house and arrest him. I liked the word “moneymaker” because it’s so literal: of all the ways to acquire money, only “moneymaking” involved actually manufacturing it. A disgruntled silversmith could disappear for a week and return richer than the city’s wealthiest merchant. Getting rich quick inspired as much awe and envy back then as it does today. For those riches to be fabricated by hand, and not earned the old-fashioned way, made counterfeiting seem like magic. It’s easy t! o see why counterfeiters became the outlaw celebrities of thei! r day. T hey embodied the enduring fantasy of instant wealth. Their fortunes were, in every sense, self-made.

Q: What initially drew you to the topic of counterfeiting?

A: When I started reading about the subject, I became fascinated with the stories of the individual counterfeiters. Very few began as professional criminals. Most started out as craftsmen: silversmiths or engravers, usually. Creating a plate for printing counterfeit bills required tremendous dexterity. The success of an entire operation essentially rested on one pair of hands. So counterfeiters tended to be talented artistsâ€"but they were also aggressively entrepreneurial. They needed to think on several levels: quality of the craftsmanship wasn’t the only factor determining the success of a counterfeiting enterprise. There was the sale of the notes themselves, whether to regional distributors or to gangs of “passers.” There was the geographical question of which communities t! o target. Perhaps most importantly, counterfeiters had to elude law enforcement and, as their notoriety grew, the prospect of lifetime imprisonment or execution. For these reasons they came to understand the political and economic landscape of early America far better than most criminals of the era.

Q: Do you think your book has special relevance today?

A: The financial crisis reminded us how rapidly wealth can evaporate. It reminded us that, despite huge advances in technology, we still live in a very precarious system. What Moneymakers brings into focus is that financial volatility hasn’t been the exception in American history: it’s been the rule. It’s tempting to think of our economic trajectory as one continuous ascent since the 18th century. But America’s path to prosperity has been anything but linear: it’s run from boom and bust, through wars and political upheavals, and impoverished people at least as often as it’! s enriched them. Men and women two hundred years ago were not ! substant ially different from us. They were just as delusional about the prospect of inexhaustible growth in the 19th century as we were in the early part of the 21stâ€"and just as shocked and angry when those delusions gave way. Of course, many specific circumstances have changed since then. Counterfeiters were once ubiquitous in American life; today, they’ve virtually disappeared. Until the final decades of the 19th century, counterfeiters provided a significant portion of the nation’s money supply, feeding America’s addiction to paper credit with fresh infusions of fake currency. These days, counterfeit bills account for a negligible portion of the total in circulation. But though physical counterfeiting has declined, the spirit of counterfeiting endures. Counterfeiters’ core insight was that confidence creates value. If a paper rectangle carried the right marks in the right places, and the person holding it appeared trustworthy, then it became valuable. Much of today’! s financial trickery proceeds from the same principle.

Q: What surprised you most while researching and writing?

A: There was a lot that surprised me. Maybe the most surprising single fact was how many different private paper currencies circulated in the United States before the Civil War. I’d thought we’d always had a single federal currency, but it wasn’t until the 1860s that it became politically possible for Congress to phase out the bills of some sixteen hundred state banks and replace them with national notes. More surprising than this, however, was how long the American people enduredâ€"and in many cases, endorsedâ€"a system with so many evident flaws. From the Revolution until the Civil War, they dealt with hundreds, and eventually thousands, of different banknotes, each fluctuating in value. They were victimized by predatory lenders, speculators, and a banking sector that swung from prosperity to panic, with devastating effect! s. The federal government could’ve stepped in to simplify an! d stabil ize this state of affairs. But the American people generally resisted the idea of a federal government powerful enough to make meaningful interventions in the economy and the currency, even if it would be to their benefit. The resistance to federal power was rooted in a particular interpretation of the Constitution and a long legacy of limited government. It led people to act against their economic self-interest, en masse and for long periods of time. Outdated notions of proper governance proved remarkably persistent, even when modern circumstances demanded something very different.

Q: Your book focuses on three counterfeiters. What made you decide on these people in particular?

A: With this subject there’s no shortage of colorful characters and engaging anecdotes. But I wanted to focus on people who, in some way, illustrated the story of America’s financial evolution. These three men stood out because they intersected with the broader cu! rrents of their respective eras in exceptionally interesting ways. They were each active at moments of major change in the American monetary landscape. For example, Owen Sullivan launched his counterfeiting career in 1749, the same year that the Massachusetts legislature passed a highly controversial bill phasing out the colony’s paper currency within the next two years. Decades later, David Lewis picked a similarly momentous time: just as the rapid proliferation of note-issuing banks flooded the early United States with new bills, with obvious benefits for counterfeiters. Samuel Upham took advantage of the unique circumstances brought about by the Civil War. He forged Confederate money with impunity from the safety of Philadelphia, peddling his fakes openly to soldiers and smugglers headed South. Sullivan, Lewis, and Upham gave me a way to connect the story of American counterfeiting with the story of America as a whole.

Q: What did you learn about Amer! ica through writing this book? What did you learn about Americ! ans?

A: When you write history, you begin to see a lot of common ground between the past and the present. Almost every day, I would encounter a fact or a story that called to mind current events. America may look a lot different in 2010 than it did in 1690-1865, which is roughly the period covered by my book. But there are certain resonances. One theme that seems to have persisted, despite the major realignments of the last century, is the notion of getting “something for nothing.” America’s first settlers thought of this country as a blank: “vacuum domicilium,” in John Winthrop’s words, or vacant land. This was a fantasy, of course: the land wasn’t vacant, and clearing it involved a centuries-long struggle. But the idea of forging value in a void remained a powerful one.

Paper money belongs to this tradition. It makes something out of nothing by investing an otherwise worthless material with monetary value typically reserved for gold or ! silver. In fact, the American colonies were the first governments in the Western world to print paper currency. The notes first appeared in 1690 in response to the severe shortage of precious metals that plagued colonial life. Faced with a scarcity of coin, colonial America needed a way to fund wars and collect taxes and conduct trade: more broadly, it needed a way to convert the ambitions of its inhabitants into real economic growth. Paper currency met that need. It provided a country with few natural resources and little political or economic leverage the fuel to colonize an entire continent. Our economy ran on paper promises that, in many cases, couldn’t be keptâ€"yet our collective faith in these promises helped produce real things, like canals and railroads. By postponing the present in anticipation of the future, paper promises helped America grow.

Q: Did you develop a new appreciation or understanding of the American economy through writing this book! ?

A: Our economy has grown so much in scale an! d sophis tication that it’s hard to draw exact parallels. But there are certain patterns that feel very familiar. In the book I write a lot about confidence. It sustains the economy by underpinning the value of our currency; it also enriched counterfeiters over the centuries, who grew very adept at cultivating it. In the period covered by the book, Americans tended to have a confidence problem: they either had too much of it, taking risks as everything surged, or too little, fleeing the market as everything crumbled. As long as everyone believed something had valueâ€"whether a piece of colonial money or a stock certificateâ€"it did. But when that faith faltered, mistrust spread throughout the system, triggering a panic. The essential features of our most recent crisis would be familiar to people living through the Panics of 1819 or 1837 or any of the several subsequent disruptions in the following decades. The issue of how crises are created is very contentious, and I’ve tried to! be careful about not drawing unfair comparisons. Without diminishing the complexity of the debate, though, there are fascinating convergences between past and present when it comes to America’s turbulent finances.

Q: What do you hope readers take away?

A: I think the most exciting thing about history is that it’s filled with real people. They felt pain when they lost their life savings in financial panics. They argued bitterly about the role of government in the economy, just as bitterly as we do today. The more time I spend reading about the past, the more I’m reminded of people I know today. The correspondences aren’t perfect, but enough of them exist to suggest human that nature hasn’t changed much in the last three centuries. If there’s a larger lesson to the book, that might be it.


Big Fish

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Throughout his life Edward Bloom (Ewan McGregor) has always been a man of big appetites, enormous passions and tall tales. In his later years, portrayed by five-time Best Actor Oscar(r) nominee Albert Finney (Best Actor in a Supporting Role, Erin Brockovich, 2000), he remains a huge mystery to his son, William (Billy Crudup). Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures in this marvel of a movie.After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to Southern tall tales. Big Fish twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor (Moulin Rouge, Down with Lo! ve) and as a dying father by Albert Finney (Tom Jones). Edward's son Will (Billy Crudup, Almost Famous) sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealized Southern town, a traveling circus, and much more. The result is sweet but--thanks to the director's dark and clever sensibility--never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito, and Steve Buscemi. --Bret FetzerThroughout his life Edward Bloom (Ewan McGregor) has always been a man of big appetites, enormous passions and tall tales. In his later years, portrayed by five-time Best Actor Oscar nominee AlbertFinney (Best Actor in a Supporting Role, Erin Brockovich, 2000), he remains a huge mystery to his son, William (Billy Crudu! p). Now, to get to know the real man, Will begins piecing toge! ther a t rue picture of his father from flashbacks of his amazing adventures in this marvel of a movie.After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to Southern tall tales. Big Fish twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor (Moulin Rouge, Down with Love) and as a dying father by Albert Finney (Tom Jones). Edward's son Will (Billy Crudup, Almost Famous) sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealized Southern town, a traveling circus, and much more. The result is sweet but--thanks to the director's dark and clever sensibility--never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny! DeVito, and Steve Buscemi. --Bret FetzerThroughout his life Edward Bloom (Ewan McGregor) has always been a man of big appetites, enormous passions and tall tales. In his later years, portrayed by five-time Best Actor Oscar® nominee Albert Finney (Best Actor in a Supporting Role, Erin Brockovich, 2000), he remains a huge mystery to his son, William (Billy Crudup). Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures in this marvel of a movie.After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to Southern tall tales. Big Fish twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor (Moulin Rouge, Down with Love) and as a dying father by Albert Finney (Tom Jones). Edward's son Will (Billy Crudup, Almost Famous) sits by his father's bedside but has little patience wit! h the old man's fables, because he feels these stories have ke! pt him f rom knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealized Southern town, a traveling circus, and much more. The result is sweet but--thanks to the director's dark and clever sensibility--never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito, and Steve Buscemi. --Bret FetzerThroughout his life Edward Bloom(Ewan McGregor) has always been a man of big appetites, enormous passions and tall tales. In his later years, portrayed by five-time Best Actor Oscar nominee Albert Finney (Best Actor in a Supporting Role, Erin Brockovich, 2000), he remains a huge mystery to his son, William (Billy Crudup). Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures in this margel of a movie.