Wednesday, November 30, 2011

Frozen

  • FROZEN (DVD MOVIE)
A typical day on the slopes turns into a chilling nightmare for three snowboarders when they get stranded on the chairlift before their last run. As the ski patrol switches off the night lights, they realize with growing panic that they’ve been left behind, dangling high off the ground with no way down.
Snow-sport enthusiasts, take note: Adam Green's unsettling thriller Frozen suggests that abiding by the rules and regulations of your local ski resort might not only be polite, but essential to your health. Green's hapless heroes--nice guy Dan (Kevin Zegers, Transamerica), his best pal Lynch (Shawn Ashmore, the X-Men franchise), and Dan's new girlfriend Parker (newcomer Emma Bell)--decided to cut a few corners in pursuit of more time on the slopes. Miscommunication with the staff results in the trio getting stuck on a lift some 60 feet in the a! ir just moments before the resort closes for a three-day weekend. The hope for rescue soon dwindles, and the trio faces the decision to either endure the elements or somehow make their way to the ground without injury. All of the gruesome possibilities inherent to the situation--from frostbite and broken limbs to a pack of voracious wolves--are explored in unpleasant detail, but what sets Frozen apart from a simple splatterfest is the quality of the performances, especially Bell, who rises above her character's initial superficiality to present a wholly sympathetic character. Fans of Green's first film, the abysmal slasher tribute Hatchet, might find the pacing glacial (ahem), but those who admired his sophomore effort, the psychological thriller Spiral, will appreciate his attention to pacing and suspense, which puts Frozen on par with the very similar Open Water. The DVD includes commentary by Green and his stars, along with deleted scen! es and a wealth of behind-the-scenes featurettes focusing on c! onceptio n of the project, as well as the crew's struggles with the genuinely contentious weather at the Utah filming location. --Paul Gaita

Bowling for Columbine

  • Audio Introduction by Writer-Director Michael Moore
  • OSCAR WINNER: Documentary Feature, 2002
  • WINNER: Original Screenplay by WRITERS GUILD OF AMERICA, 2003
  • On over 160 Top-Ten Lists
  • CANNES FILM FESTIVAL, 2002 35th Anniversary Prize
Acclaimed filmmaker Michael Moore (Roger & Me) takes aim at America's love affair with guns and violence in this Oscar(r)-winning* film that "demands attention" (People)! Mixing riveting footage, hilarious animation and candid interviews with everyone from the NRA's Charlton Heston to shock-rocker Marilyn Manson, Bowling for Columbine is a "brilliant" (The Hollywood Reporter) tour de force of filmmaking. *2002: Documentary FeatureMichael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and! short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. --Bret FetzerStudio: Tcfhe/mgm Release Date: 08/04/2008The Michael Moore Limited Edition DVD Collector's Set collects two of his landmark documentaries as well as a bonus disc of footage from the tour promoting his 2003 book Dude, Where's My Country? Bowli! ng for Columbine (2002) tackles a meaty subject: gun contr! ol. Moor e skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. The two-disc special edition included here is officially out of print and not available separately. Its features include an updated voice-over introduction from Michael Moore on the first disc, as well as a direct-to-camera t! alk on the second disc in which he discussed reactions to the film, and his reaction to winning an Oscar (he had to recite his celebrated acceptance speech because the Academy refused permission for him to show a clip, and he offered his take on who was booing whom). Other extras are an enthusiastic commentary track by Moore's former receptionists and interns; good, thoughtful, funny, and provocative interviews with ex-Clinton Press Secretary Joe Lockhart and with film critic Charlie Rose; and a moving return to Littleton, Colorado--home of Columbine High School--to find out what local people thought of the documentary.

A brazen mixture of stand-up comedy, political commentary, CEO confrontations, and shenanigans with Random House tour escorts, The Big One (1997) follows Moore's book tour to promote Downsize This. In cities like Des Moines, Minneapolis, St. Louis, and Portland, Moore's lighthearted-sounding but deeply biting humor speaking before boo! kstore patrons is juxtaposed with painful-to-watch confrontati! ons with security personnel at companies such as Procter & Gamble and PayDay. Moore speaks clandestinely with Borders employees organizing a union; a woman laid off from Ford attends Moore's Rockford, Illinois, bookstore visit the same day. Though slow in spots, frustrating if not depressing in others, it's intensely funny the rest of the time. The Big One is fundamental viewing.

On the bonus disc is a 13-minute featurette, "39 Cities in 23 Days." On the tour for his book Dude, Where's My Country?, Moore enthralls and amuses enthusiastic college crowds with points about the Bush-Saudi connections, voting machines, and "weapons of mass balloonery."Acclaimed filmmaker Michael Moore (Fahrenheit 9/11) takes aim at Americ'love affair with guns and violence in this Oscar winning film that "demand attention" (People)! Mixing riveting footage, hilarious animation and candid interviews with everyone from the NR's Charlton Heston to shock-rocker Marilyn Manson, Bowling for ! Columbine is brilliant.Michael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. --Bret Fetzer

De-lovely : The Cole Porter Story : Widescreen Special Edition

  • Widescreen
"The most unusual and enchanting musical in years" (Roger Ebert), this cinematic ode to legendary composer Cole Porter is at once buoyantly fun and "heartbreakingly beautiful" (Liz Smith). OscarÂ(r) winner* Kevin Kline (The Ice Storm) is "perfection" (Rolling Stone) as the elegant and deeply complex Porter in a film that offers "knockout performances" (Gene Shalit) from Natalie Cole, Elvis Costello, Sheryl Crow, Diana Krall, Alanis Morissette and Robbie Williams, and "melancholy, wit and style to burn" (The Philadelphia Inquirer)! From Paris to Venice to Broadway to Hollywood, the lives of Cole (Kline) and Linda (Ashley Judd) Porter were never less thanglamorous and wildly unconventional. Though Cole's thirst for life strained their marriage, Linda never stopped being his muse, inspiring some of the greatest songs of the twentieth century.*1988: Supporting Actor, A Fish Called Wa! ndaIt's astonishing that one man could have written so many memorable songs, but musical gems keep popping up in De-Lovely, about the life and loves of Cole Porter. Played by Kevin Kline (In & Out, A Fish Called Wanda), an elderly Porter is summoned by a mysterious director (Jonathan Pryce, Brazil) to view his own story, which unfolds as a series of theatrical tableaux. The movie is open (if a bit chaste) about Porter's homosexuality, but argues that the love of his life was still his devoted platonic relationship with Linda Lee (Ashley Judd, Ruby in Paradise, Kiss the Girls). Unfortunately, the narrative suffers from the fate of many biographies; by trying to cram in a person's entire life, it ends up a collection of snapshots without depth or context. The parade of celebrity singers (Alanis Morissette, Sheryl Crow) were apparently chosen for their jarringly modern vocal mannerisms. --Bret FetzerStudio: Tcfhe/mgm Release Da! te: 04/05/2011 Rating: Pg13European version of 19-track sound! track in cludes the bonus track 'Easy To Love' - Kevin Kline. Columbia.At first glance, the approach picked for De-Lovely will be familiar to those who already own Red Hot + Blue: A Tribute to Cole Porter. On both albums, contemporary pop stars cover classics by Porter. But many of the interpretations on Red Hot + Blue were modernized, whereas the approach on De-Lovely is more traditional---it's the soundtrack to a biopic about Porter, after all, so a classic (though not quite period) sound prevails. What's surprising is how well many of the singers handle the songs without the crutch of a contemporary pop retooling. Who would have thought that Alanis Morissette had such a natural affinity for "Let's Do It (Let's Fall in Love)," for instance? She fares equally well in her screen cameo, whereas Diana Krall sounds superb on "Just One of Those Things" but looks horribly uncomfortable in the film. Other good surprises include Robbie Williams's "It's De-Lovely! " and Kevin Kline as Porter, coming across as a more tuneful Rex Harrison. Elvis Costello, meanwhile, confirms he's a better songwriter than singer, and as Linda Porter, Ashley Judd is hesitant at best. In a nice touch, a recording of Cole Porter himself performing "You're the Top" provides the album's coda. --Elisabeth Vincentellidvd

Neat-Oh! ZipBin Dinosaur Medium Play Set

Quiksilver Men's Abyss Photo Real Tee, Smoke Heather, X-Large

Head in the Clouds

  • ISBN13: 9780764207563
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
As war clouds gather over Europe, a free-spirited socialite and her two lovers live a life of pleasure and privilege until the Spanish Civil War tears them apart. Starring Charlize Theron and Penelope Cruz.If movies were solely about the cheap pleasure of watching gorgeous people make grand gestures in epic circumstances--because, sure, sometimes movies are--director/screenwriter John Duigan's goopy, obvious, overwrought contemplation of how global unrest really messes with your love life would be Oscar-worthy. Charlize Theron, Stuart Townsend, and Penelope Cruz are headstrong 1930s playthings who each discover that they need to pull their attractive heads out of their inviting behinds if th! ey're going to play a part in stopping the spread of European fascism. Charlize is socialite Gilda, who ensnares both brooding, Cambridge-educated Irishman Townsend and Spanish rebel Cruz (who is particularly ill-defined) in a love triangle while seemingly caring not a whit for the imminent goosesteps of the Nazis. Charlize wears a lot of fabulous outfits, and she and real-life paramour Townsend do impetuous things like sport fedoras while romping in a milky-white bathtub; Cruz, meanwhile, performs a passionate impromptu striptease. Hey, there are worse ways to be entertained. Unfortunately, you don't really give a damn about any of them, and you can predict what's going to happen to all of them well before it actually does. It's an efficient, glamorous, hokey, ultimately downbeat time-killer for anyone willing to spend two hours trying to decide which of the doe-eyed trio you'd save from destruction first. --Steve WieckingAdelaide Proctor is a young woman with her h! ead in the clouds, longing for a real-life storybook hero to c! laim as her own. But when a husband-hunting debacle leaves her humiliated, she interviews for a staid governess position on a central Texas sheep ranch and vows to leave her romantic yearnings behind.

When Gideon Westcott left his privileged life in England to make a name for himself in America's wool industry, he never expected to become a father overnight. And five-year-old Isabella hasn't uttered a word since she lost her mother. The unconventionality of the new governess concerns Gideon--and intrigues him at the same time. But he can't afford distractions. He has a ranch to run, a shearing to oversee, and a suspicious fence-cutting to investigate.

When Isabella's uncle comes to claim the child--and her inheritance--Gideon and Adelaide must work together to protect Isabella from the man's evil schemes. And soon neither can deny their growing attraction. But after so many heartbreaks, will Adelaide be willing to get her head out of the clouds and put her heart o! n the line?

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Enjoy a tour of France through a child's scrapbook. Follow a young boy, his little sister and his beloved teddy bear on their playful journey around the country. They discover similarities and differences between France and home while singing along the Seine River, climbing the Eiffel Tower, running through lavendar fields, eating pomme frites and sun bathing on the French Riviera. The brilliant watercolor illustrations capture the attention of the reader, while the story introduces exciting new places and over fifty French words.L'ENFANT - DVD MovieA disturbing film about a young Belgian couple and their newb! orn child, L'Enfant tells a heartbreaking tale that is less about love than about the possibility of moral redemption. We quickly learn what kind of people Sonia and Bruno are. Sonia (Deborah Francois) is a sweet teenager who has just given birth to Bruno's (Jeremie Renier) child. Instead of visiting her and seeing their baby in the hospital, Bruno sublets her apartment to "friends" who slam the door in her face when she tries to return home. We do not know what Sonia does for a living, but we know she's diligent enough to maintain a small apartment and keep her pantry stocked with instant soup. Bruno, on the other hand, refuses to take a job. Instead, he leads a gang of thieves who're approximately half his age (and height). Still, Sonia loves him. And Bruno, who may be incapable of love, enjoys the carefree benefits of having a girlfriend who doesn't expect too much. All this changes when Bruno does the unthinkable--he sells their child. He calmly explains to her, ! "I thought we'd have another." Overnight, Sonia changes from a! little girl to a bitter woman who no longer excuses Bruno's behavior. When he returns to her apartment claiming he loves her, she spits back, "You're lying. You can't help it." Not realizing the irony of his own actions, he then begs her for money. Renier and Francois are formidable actors who convey feelings with subtle nuances. Though the film is in French, the viewer never feels lost. The subtitles certainly help, but the actors are so good that their intonations and expressions speak volumes themselves. L'Enfant--a 2005 Cannes winner by filmmaking brothers Jean-Pierre and Luc Dardenne--is a brutal film to watch not because of any gore or violence, but because of the frailty of the characters and their desperation to survive. In his quest to return the child to Sonia, Bruno attempts to become a better human being. But the viewer is never left with the satisfaction of knowing that he will ever be able to truly redeem himself. --Jae-Ha KimFrançois Truffaut's fascina! ting 1969 film, based on a real-life, 18th-century behavioral scientist's efforts to turn a feral boy into a civilized specimen, is an ingenious and poignant experience. In a piece of resonant casting that immediately turns this story into an echo of the creative process, Truffaut himself plays Dr. Itard, a specialist in the teaching of the deaf. Itard takes in a young lad (Jean-Pierre Cargol) found to have been living like an animal in the woods all his life. In the spirit of social experiment, Itard uses rewards and punishments to retool the boy's very existence into something that will impress the world. Beautifully photographed in black and white and making evocative use of such charmingly antiquated filmmaking methods as the iris shot, The Wild Child has a semidocumentary form that barely veils Truffaut's confessional slant. What does it mean to turn the raw material of life into a monument to one's own experience and bias? The question has all sorts of intrigu! ing reverberations when one considers that Truffaut's own wild! childho od was rescued by love of the cinema and that a degree of verisimilitude factors into his films starring Jean-Pierre Leaud--the troubled lad who grew up in Truffaut's work from The 400 Blows onward. (The Wild Child is dedicated to Leaud.) --Tom Keogh

Grudge Match (Chris Sinclair Thriller)

  • novel
This book is part of the TREDITION CLASSICS series. The creators of this series are united by passion for literature and driven by the intention of making all public domain books available in printed format again - worldwide. At tredition we believe that a great book never goes out of style. Several mostly non-profit literature projects provide content to tredition. To support their good work, tredition donates a portion of the proceeds from each sold copy. As a reader of a TREDITION CLASSICS book, you support our mission to save many of the amazing works of world literature from oblivion.Grudges appear to be small, harmless and cuddly. They want you to pick them, nurse them and feed them with angry thoughts. You'll be able to pick them up and put them down when they're small, but WARNING...grudges grow up.

They become Resentment and then Bitterne! ss. See the growth cycle of a grudge and discover how you can stop it right in its tracks. Written in English and Spanish for ages 7 to adult.

DON'T HUG A GRUDGE has been used by Joyce Meyer, of Joyce Meyer Ministries International, in her Emotional Healing Series, "Bitterness, Resentment and Unforgiveness".
Steve Greerdon is not a dirty cop . . .

Eight years ago Chris Sinclair sent him to jail for armed robbery. Now, new DNA evidence shows that he is innocent and Sinclair sees that Greerdon is set free.

Two police officers are murdered and Greerdon is found at the scene of the crime with no alibi. Sinclair grows suspicious. Either crooked cops are trying to cover up a years-old crime, or he was a fool for helping to free Greerdon. As murders pile up and clues point to more than one suspect, Sinclair realizes that he--or his teenage daughter Clarissa--could be the next victim.

This intense, powerful novel weaves an ever-tightening! web of suspense that will keep readers chasing the truth unti! l the fi nal page.

Cassandra's Dream

  • Ewan McGregor and Colin Farrell star as working brothers whose dreams of better lives leads to desperation, greed and deadly betrayal. When gambling debt and an expensive courtship place them in a financial bind, a rich uncle (Tom Wilkinson, Michael Clayton) offers them an out in exchange for committing murder. Featuring gripping performances from an all-star cast; "this family tragedy puts us
Ewan McGregor and Colin Farrell star as working class brothers whose dreams of better lives leads to desperation, greed and deadly betrayal. When gambling debt and an expensive courtship place them in a financial bind, a rich uncle (Tom Wilkinson, Michael Clayton) offers them an out in exchange for committing murder. Featuring gripping performances from an all-star cast; "this family tragedy puts us near the edge of our seats and pulls us right along on its downward spiral" (William Arnold, Seattle Pos! t Intelligencer). Woody Allen returns in razor-sharp form with this "intense, intelligently-written and directed," (Jeffrey Lyons, Reel Talk) thriller that challenges how far a man should go in the name of family.Scottish Ewan McGregor and Irish Colin Farrell play two Cockney brothers who get in over their heads when a wealthy relative asks for a favor. Woody Allen's sleek thriller Cassandra's Dream begins in innocent times: Ian (McGregor) and Terry (Farrell) buy a sailboat and name it Cassandra's Dream. But soon Terry falls afoul of gambling debts and Ian falls head over heels for a sultry actress who doesn't take him seriously, leading them to ask their uncle Howard (Tom Wilkinson) for money, which he's happy to give them--if they'll get rid of a man who's going to testify against him. The first half of Cassandra's Dream zips along with short, concise scenes and charismatic performances by the lead lads. Newcomer Hayley Atwell (Brideshead Revisited) i! s alluring as the actress, while Sally Hawkins (Persuasion) bri ngs warmth and sympathy to the underwritten role of Terry's girlfriend Kate. The second half--as with many of Allen's later films--seems to run out of steam, though there's still much to admire about Allen's clean, unfussy filmmaking. Regrettably, he seems to have lost the ability to sustain his imaginative spark. The weakness is in the writing; too many of the characters are barely sketched and clumsy lines of dialogue jar the ear in otherwise well-shaped scenes. But just when you're ready to throw up your hands, there's a moment of understated grace, in which Allen's simple visuals capture something with crystalline clarity. Cassandra's Dream is a frustrating movie, but it has its rewards. --Bret Fetzer