12:01 AM
admin
- AFTER THE WEDDING (DVD MOVIE)
Thursday, December 1, 2011
After the Wedding
Wednesday, November 30, 2011
JAY Adams Dogtown Z Boys Sticker Cut Vinyl Decal White
- White Cut Vinyl Decal for use on a dark backround
In the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photographer whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seem! s particularly implicated). Degrees of accuracy aside, the hoard of original footage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn, who narrates) is far more entertaining than any evenhanded version could ever hope to be. --Fionn Meade
In the early 1970s, the sport of skateboarding had so waned from its popularity in the 1960s that it was virtually non-existent. In the Dogtown area of west Los Angeles, a group of young surfers known as the Zephyr Team (Z-Boys) was experimenting with new and radical moves and styles in the water which they translated to the street. When competition skateboarding returned in 1975, the Z-Boys turned the skating world on its head. . Dogtown The Legend of the! Z-Boys is a truly fascinating case study of just how an under! ground s port ascended on the world. These are the stories and images of a time that not only inspired a generation but changed the face of sport forever. The Legend of the Z-Boys has been described as "The Dogtown text book" and an insightful companion piece to the movie: "DogTown and Z-Boys". . Spanning 1975 â€" 1985, the first section of the 240 page book includes the best of the "DogTown" articles written by C.R. Stecyk III as they originally appeared in SkateBoarder Magazine. The second half compiles 100’s of never before seen skate images from the archive of Glen E. Friedman - many of which appear in the movie. Both Stecyk and Friedman acted as executive producers and advisors for the award winning film, Dogtown and Z-Boys to be released nationwide simultaneously by Sony Picture Classics in April 2002.In the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after ! watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photographer whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seems particularly implicated). Degrees of accuracy aside, the hoard of original footage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn,! who narrates) is far more entertaining than any evenhanded ve! rsion co uld ever hope to be. --Fionn MeadeDOGTOWN AND Z-BOYS/GRATEFUL DAWG - DVD MovieDogtown and Z-BoysIn the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photographer whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seems particularly implicated). Degrees of accuracy aside, the hoard of original foo! tage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn, who narrates) is far more entertaining than any evenhanded version could ever hope to be. --Fionn Meade
Grateful Dawg
Jerry Garcia was famous as the visionary behind the Grateful Dead, but his musical tastes were broad, and he found a rewarding partnership with mandolinist David Grisman, whose distinctive "Dawg" style fused jazz with bluegrass. At its best, Grateful Dawg celebrates the easy friendship and truly inspired musicianship of Garcia and Grisman through grainy home-movie footage with surprisingly crisp sound. As one of the film's commentators says, Grisman made Garcia tighter as a musician, while Garcia made Grisman looser, and where the! y met they created an infectious, rootsy style they called Gra! teful Da wg. The film's many highlights include instrumental versions of "Dawg Waltz," "Shady Grove," and "Arabia," as well as splendid footage from Garcia and Grisman's days in Old & in the Way. The talking heads inserted ham-handedly between and over performances, unfortunately, become repetitious and, finally, downright annoying. But Garcia and Grisman fans will still enjoy the glimpse at a rare musical alchemy. --Anne HurleyIn the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photogra! pher whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seems particularly implicated). Degrees of accuracy aside, the hoard of original footage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn, who narrates) is far more entertaining than any evenhanded version could ever hope to be. --Fionn MeadeExtremely Durable. Rated for seven years outdoor use by Avery Vinyl Products. Easy to apply. 1. Peel off backing. 2. Stick. 3. Rub transfer tape on front of sticker with the edge of a credit card. 4. Peel off transfer tape at an angle from one of the corners.
Steven Seagal Collection: 4 Film Favorites - Under Siege / The Glimmer Man / Above the Law / Fire Down Below
- Under Siege The Glimmer Man Above the Law Fire Down Below Format: DVD MOVIE Genre:Â ACTION/ADVENTURE Rating:Â R Age:Â 085391174226 UPC:Â 085391174226 Manufacturer No:Â 117422
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 3-FEB-2004
Media Type: DVDHere's a movie that only a Steven Seagal fan could love. It's not nearly as good as Under Siege (the movie destined to remain Seagal's high-water mark), but not any worse than Above the Law. This time ol' Steve is an agent of the Environmental Protection Agency who's busting heads in Kentucky. He's on good terms with the local yokels (including Marg Helgenberger and Harry Dean Stanton), but locks horns with a slimy mogul (Kris Kristofferson) who'! s using abandoned mines to dump toxic waste. Along with an ecological message, Seagal serves up several broken limbs, cracked skulls, and bloody noses, and he even finds time to do some guitar picking with country boys such as Travis Tritt and Randy Travis. Once you've heard Seagal crooning a country tune, you'll be eager to see him go back to whuppin' the bad guys. --Jeff ShannonCan-do hero. Can't-miss action. Steven Seagal stars in and directs On Deadly Ground (Disc 1/Side A). He plays Forrest Taft, the roughest of Alaska's oil roughnecks...and bad news to a corporate big shot (Michael Caine), who put profits over environmental safety. Then he fires up Fire Down Below (Disc 1/Side B) as an EPA officer headed for an eco-showdown in Appalachian mining country. Co-stars include Kris Kristofferson and CSI Crime Scene Investigation's Marg Helgenberger. A gangster who leaves corpses as his calling cards runs up against Brooklyn cop Gino Felino (Seagal) in the thriller Ou! t for Justice (Disc 2), co-starring Jerry Orbach (Law & Order)! .Under S iege The Glimmer Man Above the Law Fire Down Below
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
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
American Beauty [VHS]
- Condition: Used - Very Good
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Bu! rnham family joins the cinematic short list of great dysfuncti! onal Ame rican families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both! plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam SutherlandNoted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman's turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he's grown cynical and is convinced that he has no reason to go on. Lester's relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she's in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is con! stantly depressed, lacking in self-esteem, and convinced that ! she's un attractive. Her problems aren't helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn't the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harrie! d Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts L! ester into a sexual epiphany that blooms into a second adolesc! ence. An d an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam SutherlandAMERICAN BEAUTY: Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman's turn in The Blue Room, made his motion picture debut with this film about the dark si! de of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he's grown cynical and is convinced that he has no reason to go on. Lester's relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she's in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she's unattractive. Her problems aren't helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn't the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his! life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has ! spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. THE VIRGIN SUICIDES: A dark comedy punctuated by moments of drama, The Virgin Suicides explores the emotional underpinnings of a family starting to come apart at the seams in 1970's Midwestern America. The Lisbons seem like an ordinary enough family; Father (James Woods) teaches math at a high school in Michigan, Mother (Kathleen Turner) has a strong religious faith, and they have five teenage daughters, ranging from 13-year-old Cecilia (Hannah Hall) to 17-year-old Therese (Leslie Hayman). However, the Lisbon family's sense of normalcy is shattered when Cecilia falls into a deep depression and attempts suicide. The family is shaken and Mother and Father seek the advice of psychiatrist Dr. Hornicker (Danny DeVito), who suggest! s the girls should be allowed to socialize more with boys. However, boys soon become a serious problem for Cecilia's sister Lux (Kirsten Dunst). Lux has attracted the eye of a high-school Romeo named Trip (Josh Hartnett), who assures Father of his good intentions. But Cecilia finally makes good on her decision to kill herself, throwing the Lisbons into a panic; and after attending a school dance, Trip seduces and then abandons Lux. The Lisbons pull their daughters out of school, as an emotionally frayed Mother keeps close watch over them. Meanwhile, Lux continues to attract the attentions of the local boys, and she responds with a series of clandestine sexual episodes with random partners as often as she can sneak out of the house. The debut feature from Sofia Coppola (whose father, Francis Ford Coppola, co-produced this film), The Virgin Suicides also features supporting performances from Scott Glenn and Giovanni Ribisi. The film was shown as part of the Directors Fortnigh! t series as the 1999 Cannes Film Festival.From its first glidi! ng aeria l shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Ja! ne (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--! and of blood. --Sam SutherlandDREAMWORKS, DSL1205, pal ! 2+4From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuou! s teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimso! n, the color of roses--and of blood. --Sam SutherlandFr! om its f irst gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous tee! naged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, th! e color of roses--and of blood. --Sam SutherlandExpande! d & rema stered (HDCD) version of the band's 1970 classic featuring many of the Dead's best-known songs plus 6 bonus tracks 'Truckin' (single version) & 5 live tracks 'Friend of the Devil', 'Candyman', 'Till The Morning Comes', 'Attics of My Life' & 'Truckin'. Digipak. Warner/Rhino. 2003. Who says discipline is a bad thing? No one who's heard American Beauty, the Dead's greatest studio achievement. Showcasing 10 concise, country-rooted gems that sound equally good whether you're hanging on the front porch in the afternoon or nursing a bottle after hours, this one could win over many an anti-Jerry. Bewildered by loss both personal and social--the hippie dream was quickly crashing by Beauty's 1970 release date--the band put its querulousness ("Box of Rain") and wry humor ("Truckin'") into the service of a masterwork. The most impressive cut of all may be "Ripple," Garcia's spiritual credo. --Rickey Wright Who says discipline is a bad thing? No one who's heard! American Beauty, the Dead's greatest studio achievement. Showcasing 10 concise, country-rooted gems that sound equally good whether you're hanging on the front porch in the afternoon or nursing a bottle after hours, this one could win over many an anti-Jerry. Bewildered by loss both personal and social--the hippie dream was quickly crashing by Beauty's 1970 release date--the band put its querulousness ("Box of Rain") and wry humor ("Truckin'") into the service of a masterwork. The most impressive cut of all may be "Ripple," Garcia's spiritual credo. --Rickey WrightFrom its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells ! us his story from beyond the grave.
It's an audacious start! for a f ilm that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes,! with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam Sutherland
The Ghost and the Haunted Mansion (Haunted Bookshop Mysteries, No. 5)
- ISBN13: 9780425224601
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
The Haunted Mansion is one of the most popular and beloved attractions in Disney theme park history, and can be found in each Magic Kingdom Park around the globe. This newly updated bookâ€"as it is of vital importance to make sure that fans can read about the latest updatesâ€"brings the Mansion’s inhabitants to an afterlife like never before.
Â
The Haunted Mansion: From the Magic Kingdom to the Movies illustrates how the Mansion’s 999 “grim grinning ghosts†moved from sketches to reality, evolving from earliest story concepts through adaptations and changes as it moved into each of the parks, to the very latest ideas for show enhancements. This book ! also confirms and dispels the various myths and rumors that have surrounded the mysterious Mansion since its opening. And now new history has been added as the attraction continues to evolve. This updated edition now includes photos and text of the new “Mysterious Staircases†and “Glowing Eyes in the Wallpaper†effects that have been added, as well as the re-concepted attic scene, which includes the history of Constance the bride and the several husbands who have lost their heads (literally) over her.
When the local mailman inherits a haunted mansion and demands an exorcism, bookshop owner Pen must act fast to save her favorite ghostâ€" 1940s detective Jack Shepardâ€"before it’s too late.
When the local mailman inherits a haunted mansion and demands an exorcism, bookshop owner Pen must act fast to save her favorite ghostâ€" 1940s detective Jack Shepardâ€"before it’s too late.
Away We Go
- Condition: New
- Format: DVD
- AC-3; Color; Dolby; Dubbed; DVD; Subtitled; Widescreen; NTSC
The Legend of Fong Sai Yuk
- LEGEND OF FONG SAI YUK, THE (DVD MOVIE)
Kindle for PC
ipad
iphone
or Blackberry device.
This is the first EmovieBook to ever be published with the patented and innovative method that integrates reading with watching. This EmovieBook contains over 270 links that enables the reader to watch videos and read articles as they enjoy the contents of the EmovieBook.
"Pseudocide Did Michael Jackson Fake His Death To Save His Life?" is the story of the death of Michael Jackson. Was Michael Jackson forced to save his life by faking his death is the focus of this EmovieBook.
This EmovieBook ! takes the reader on a rollercoaster ride of mystery and intrigue divulging evidence that Michael Jackson did not die on June 25, 2009.
There is a chapter called the "Elvis Connection" that will compare the passing of these two superstars.
To learn more, please visit our website: www.EmovieBook.com
www.MichaelJacksonPseudocide.com
Every page is filled with shocking clues, slip-ups and contradictions. Everyday more and more people are learning facts upon facts that prove that Michael Jackson has not yet died.
This EmovieBook delivers the twists and turns of a mystery novel, while hypnotizing the reader with revelations that flow like pieces to a puzzle.
Questions like, why is Michael's name still not on his grave?
Why is Michael's name wrong on the will, death certificate, autopsy and other important documents? Why did the coroner use MJ's driver's license to identify the body? Did MJ use a body double? What is! the significance of the number 7? The list goes on and on.
This EmovieBook allows you to share in the excitement and salaciousness of Michael Jackson, who seems to never dissapoint. Will he Come Back? Well, this will be answered before the completion of this EmovieBook.
Never has there been a book like this published--It's THE first EmovieBook! EVER!
For maximum reading (and watching) enjoyment, FULL INTERNET ACCESS is required. The Kindle Pad DOES NOT have full internet access, so download your EmovieBook "PSEUDOCIDE Did Michael Jackson Fake His Death To Save His Life" to:
Kindle for PC
ipad
iphone
or Blackberry device.
This is the first EmovieBook to ever be published with the patented and innovative method that integrates reading with watching. This EmovieBook contains over 270 links that enables the reader to watch videos and read articles as they enjoy the contents of the EmovieBook.
"Pseudocide Did Michael Jackson Fake His Death To Save His Life?" is the story of the death! of Michael Jackson. Was Michael Jackson forced to save his life by faking his death is the focus of this EmovieBook.
This EmovieBook takes the reader on a rollercoaster ride of mystery and intrigue divulging evidence that Michael Jackson did not die on June 25, 2009.
There is a chapter called the "Elvis Connection" that will compare the passing of these two superstars.
To learn more, please visit our website: www.EmovieBook.com
www.MichaelJacksonPseudocide.com
Every page is filled with shocking clues, slip-ups and contradictions. Everyday more and more people are learning facts upon facts that prove that Michael Jackson has not yet died.
This EmovieBook delivers the twists and turns of a mystery novel, while hypnotizing the reader with revelations that flow like pieces to a puzzle.
Questions like, why is Michael's name still not on his grave?
Why is Michael's name wrong on the will, death certificate, autopsy and other impo! rtant documents? Why did the coroner use MJ's driver's license! to iden tify the body? Did MJ use a body double? What is the significance of the number 7? The list goes on and on.
This EmovieBook allows you to share in the excitement and salaciousness of Michael Jackson, who seems to never dissapoint. Will he Come Back? Well, this will be answered before the completion of this EmovieBook.
Never has there been a book like this published--It's THE first EmovieBook! EVER!
In a time of oppression and secret resistance, the legendary folk hero Fong Sai-Yuk faces off against a bevy of dangerous rivals in a spectacular martial arts tournament to try to win the hand of a beautiful maiden.
DVD Special Features:
• Feature Commentary by Hong Kong Cinema Expert Bey Logan
• Hit Hard & Fly High: An Exclusive Interview with Director & Legendary Hollywood Fight Choreographer Corey Yuen
• The Pen Is Mightier than the Sword: An Exclusive Interview with Writer Jeff Lau
Still! s from The Legend of Fong Sai Yuk (Click for larger image)
 |  |  |
 |  |
