- Plugs into any cigarette lighter socket or any 12 volt source
- Mounts anywhere with Hook & Loop Tape
- Three outlets
- For use in cars trucks, and boats
The desultory comedy strikes a lowbrow tone from its opening scene (Harold takes a shower while Kumar has a diarrhea attack) and doesn't get much more interesting than that. If there's a bodily fluid that doesn't rate a joke in Guantanamo Bay, it doesn't exist. The persistent sight gags about weed (including! a smoky visit with President Bush) never reach the kind of gi! ddy pitc h that pot humor requires, leaving a lot of the film's comedy just hanging like dead space. The sequel's attempt to say something, albeit in a gross way, about the state of the country during the Bush years is obvious and empty. Really, there isn't a lot of reason for Guantanamo Bay to have been made, except to print money. --Tom Keogh
First published in 1934, Border Town brings to life the story of Cuicui, a young country girl coming of age during a time of national turmoil. Like any teenager, Cuicui dreams of romance and finding true love. She's spellbound by the local custom of nighttime serenades, and she is deftly pursued by two eligible brothers. But Cuicui is also haunted by the imminent death of her grandfather, a poor and honorable ferryman who is her onl! y family. As she grows up, Cuicui discovers that life is full ! of the u nexpected and that she alone will make the choices that determine her destiny.
A moving testament to the human spirit, Border Town is a beautifully written novel, considered Shen Congwen's masterpiece for its brilliant portrayal of Chinese rural life before the Communist revolution.
Featuring 28 Episodes. In 1880, Pemmican lay at the western edge of the Great Plains. Nearly a decade later, surveyors of the 49th parallel reached the community of 180 to find it straddling the new Canada-U.S. border. Pemmican became Bordertown. It wasn't until the mud had settled that Bordertown's awkward, if not unique, character came to light. Law and order were dealt with on one side by Clive Bennett, a Mountie, and on the other by U.S. Marshal Jack Craddock. Whiskey traders, buffalo hunters, gold prospectors, silver miners, drifters and drunks kept the lawmen busy. Still, clashes were inevitable; they shared an office divided only by a black line--the 49th parallel. Acut! e rivalry in the pursuit of justice was further complicated by their pursuit of the same woman. Marie Dumont was a widowed Parisian, a sensitive lady of considerable breeding and the town's doctor.
This is not the bunch to invite over to your house, and many might even want to skip the two-hour film with its talky, pathetic prose. These characters would probably be despicable even if they weren't addicted to some narcotic. And the talk is endless; conversations that finish with a door slam are taken up moments later on the cell phone (a nice updating touch by Rabe). What draws big-name actors to Rabe's work is the chance to work on one's raw acting talent. Penn and Palminteri fit their roles like gloves, and Spacey again proves he is one of the most watchable actors around. Every nuance, bad pun, and irrelevant slip of Spacey's wicked tongue has a brutal kind of poetry here in a film that can be admired but not loved. --Doug ThomasFull Length, Drama
Characters: 4 male, 3 female
Interior Set
This riveti! ng drama took New York by storm in a production directed by Mi! ke Nicho ls and starring William Hurt, Sigourney Weaver, Judith Ivey, Christopher Walken, Harvey Keitel, Cynthia Nixon and Jerry Stiller. Characters nose deep in the decadent, perverted, cocaine culture that is Hollywood, pursing a sex crazed, drug-addled vision of the American Dream. Later stage and screen incarnations have attracted such actors as Ethan Hawke, Meg Ryan, Sean Penn, and Kevin Spacey.
"Offers some of Mr. Rabe's most inventive and disturbing writing. At his impressive best, Mr. Rabe makes grim, ribald and surprisingly compassionate comedy out of the lies and ationalizations that allow his alienated men to keep functioning if not feeling in the fogs of Lotusland. They work in an industry so corrupt that its only honest executives are those who openly admit that they lie."-The New York Times
"An important work, masterfully accomplished."-Time
"A powerful permanent contribution to American drama...Riveting, disturbing, fearsomely ! funny...Has a savage sincerity and a crackling theatrical vitality. This deeply felt play deserves as wide an audience as possible."-Newsweek
You wouldn't want to spend much time with the folks from David Rabe's play Hurlyburly. A sensation when it played on stage (with marquee names Harvey Keitel and William Hurt), Rabe's tale of the cocaine-influenced days of Hollywood in the 1980s is a bitter rambling of what humans do with too much drive, power, and money. Robin Williams's joke about cocaine being God's way of telling you have too much money certainly comes into play here. A few days in the life of casting agent Eddie (Sean Penn) and his friends (separated by a year) take place in Eddie's posh L.A. bungalow. Here he and his roomie Mickey (Kevin Spacey) talk nonstop about sex and power, syntax and meaning. Into this wash comes a charitable bigwig (Gary Shandling), a street kid (Anna Paquin), and Eddie's rudderless friend, the violent Phil (Chazz Pal! minteri). If there is a central story to be found, it's Eddie'! s drive to fall in love with Darlene (Robin Wright Penn), who finds this world exciting--or at least intoxicating.This is not the bunch to invite over to your house, and many might even want to skip the two-hour film with its talky, pathetic prose. These characters would probably be despicable even if they weren't addicted to some narcotic. And the talk is endless; conversations that finish with a door slam are taken up moments later on the cell phone (a nice updating touch by Rabe). What draws big-name actors to Rabe's work is the chance to work on one's raw acting talent. Penn and Palminteri fit their roles like gloves, and Spacey again proves he is one of the most watchable actors around. Every nuance, bad pun, and irrelevant slip of Spacey's wicked tongue has a brutal kind of poetry here in a film that can be admired but not loved. --Doug Thomas
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