Wednesday, November 16, 2011

Bart Got a Room : Widescreen Edition

  • Widescreen
Nerdy high school senior Danny has spent six hundred bucks on the hotel room, the limo and the tux for his prom. He's only missing one thing - the girl. Hampered by well intentioned but clueless advice from his newly divorced parents and unsympathetic mocking from his best friends, Danny battles peer pressure, teen angst and his own raging hormones as he desperately searches for a prom date. Danny's luckless quest turns to panic when he learns that even Bart - the school's biggest dweeb - has secured not only a date but also a hotel room for the night.Bart Got a Room isn’t the first movie comedy about nerds, high school, and the senior prom, and it undoubtedly won’t be the last. It may not be the best, either, but writer-director Brian Hecker’s 2008 concoction has enough laughs, charm, amusingly-drawn characters, and winning performances to more than hold its own.! For Danny Stein (Steven J. Kaplan), a high school student in Hollywood, Florida, the imminence of the prom is the source of considerable distress; even more distressing is the prospect of booking of a hotel room for himself and his date at the end of the evening. Problem is, Danny (who’s a bit of a schlub, but far from a total, like, loser), doesn’t have a date yet. The obvious choice is his “best friend” Camille (Alia Shawkat), who’s available and clearly interested, but Danny thinks he can do better--say, with Alice (Ashley Benson), the sophomore hottie who drives to school with him every day. Wrong. As the days, then the hours, dwindle down, Danny, whose parents’ separation is an added distraction (William H. Macy and Cheryl Hines are perfect as Ernie, who’s looking for love on the internet, and Beth, who has a new beau), realizes he’s in big trouble, not least because even the titular Bart--a geek so geeky he makes Danny look like Tom Cruise--already ha! s the room thing covered. All of this plays out in ways that a! re neith er surprising nor especially hilarious, but the movie has heart, not to mention a number of cute, quirky scenes (many involving Danny’s well-intentioned, but mostly clueless, family). Movies like Bart Got a Room aren’t really about the destination, anyway; they’re about the journey, and this one’s a fun ride. --Sam Graham

Stills from Bart Got a Room (Click for larger image)









Bart Got a Room isn't the first movie comedy about nerds, high school, and the senior prom, and it undoubtedly won't be the last. It may not be the best, either, but writer-director Brian Hecker's 2008 concoction has enou! gh laughs, charm, amusingly-drawn characters, and winning perf! ormances to more than hold its own. For Danny Stein (Steven J. Kaplan), a high school student in Hollywood, Florida, the imminence of the prom is the source of considerable distress; even more distressing is the prospect of booking of a hotel room for himself and his date at the end of the evening. Problem is, Danny (who's a bit of a schlub, but far from a total, like, loser), doesn't have a date yet. The obvious choice is his "best friend" Camille (Alia Shawkat), who's available and clearly interested, but Danny thinks he can do better--say, with Alice (Ashley Benson), the sophomore hottie who drives to school with him every day. Wrong. As the days, then the hours, dwindle down, Danny, whose parents' separation is an added distraction (William H. Macy and Cheryl Hines are perfect as Ernie, who's looking for love on the internet, and Beth, who has a new beau), realizes he's in big trouble, not least because even the titular Bart--a geek so geeky he makes Danny look like Tom Cruise--! already has the room thing covered. All of this plays out in ways that are neither surprising nor especially hilarious, but the movie has heart, not to mention a number of cute, quirky scenes (many involving Danny's well-intentioned, but mostly clueless, family). Movies like Bart Got a Room aren't really about the destination, anyway; they're about the journey, and this one's a fun ride.

Tuesday, November 15, 2011

With the Old Breed: At Peleliu and Okinawa

  • ISBN13: 9780891419068
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
The climactic novel in Lara Adrian's New York Times bestselling Midnight Breed series--and her hardcover debut--Darker After Midnight invites readers to enter a thrillingly sensual world where danger meets desire. [Siren Menage Everlasting ManLove: Erotic Alternative Paranormal Menage a Trois Romance, M/M/M, vampires, werewolves, shape-shifters, public exhibition, sex toys] It's been eight years since Boston and Flynn loved and parted, but the pain of Flynn's betrayal still has the power to bring Boston to his knees. Flynn doesn't know why Boston pushed him away and disappeared, but he aims to find out. When he realizes they have a second mate, he couldn't be happier. Too bad Bost! on is running scared from Malakai as well. Malakai was left alone and brokenhearted because Boston refused to accept their mating. When fate offers a second chance, he seizes it with both hands. He's not willing to come between Flynn and Boston, but he hopes the two shifters have room in their hearts for him as well. When a coven leader petitions for a mating contract with Malakai, the only thing that can save him is a claiming bite from his mates. But first, they'll have to accept himâ€"fangs and all. ** A Siren Erotic Romance
[Siren Menage Everlasting ManLove: Erotic Alternative Paranormal Menage a Trois Romance, M/M/M, vampires, werewolves, shape-shifters, public exhibition, sex toys] It's been eight years since Boston and Flynn loved and parted, but the pain of Flynn's betrayal still has the power to bring Boston to his knees. Flynn doesn't know why Boston pushed him away and disappeared, but he aims to find out. When he realizes they have a second mate, he couldn'! t be happier. Too bad Boston is running scared from Malakai as! well. M alakai was left alone and brokenhearted because Boston refused to accept their mating. When fate offers a second chance, he seizes it with both hands. He's not willing to come between Flynn and Boston, but he hopes the two shifters have room in their hearts for him as well. When a coven leader petitions for a mating contract with Malakai, the only thing that can save him is a claiming bite from his mates. But first, they'll have to accept himâ€"fangs and all. ** A Siren Erotic Romance
In The Wall Street Journal, Victor Davis Hanson named With the Old Breed one of the top five books on epic twentieth-century battles. Studs Terkel interviewed the author for his definitive oral history, The Good War. Now E. B. Sledge’s acclaimed first-person account of fighting at Peleliu and Okinawa returns to thrill, edify, and inspire a new generation.

An Alabama boy steeped in American history and enamored of such heroes as George Washington and Daniel Boone! , Eugene B. Sledge became part of the war’s famous 1st Marine Divisionâ€"3d Battalion, 5th Marines. Even after intense training, he was shocked to be thrown into the battle of Peleliu, where “the world was a nightmare of flashes, explosions, and snapping bullets.” By the time Sledge hit the hell of Okinawa, he was a combat vet, still filled with fear but no longer with panic.

Based on notes Sledge secretly kept in a copy of the New Testament, With the Old Breed captures with utter simplicity and searing honesty the experience of a soldier in the fierce Pacific Theater. Here is what saved, threatened, and changed his life. Here, too, is the story of how he learned to hate and killâ€"and came to loveâ€"his fellow man.

I Can't Think Straight

  • I CAN'T THINK STRAIGHT (DVD MOVIE)
Winner of the 2011 Sundance Film Festival Audience Award, CIRCUMSTANCE is a provocative coming-of-age story that cracks open the hidden, underground world of Iranian youth culture filled with sex, drugs and defiance. From newcomer Maryam Keshavarz, this suspenseful tale of love and defiance unfolds as a wealthy family struggles to contain their teenage daughter’s growing sexual rebellion and her brother’s dangerous obsession.In another place and time, the young women of Circumstance might have a bright future ahead of them, but in Tehran, they must pretend to be something they're not. Sixteen-year-old orphan Shireen (Sarah Kazemy) lives with her strict uncle, while Atafeh's loving parents have provided a comfortable home. Nonetheless, Atafeh's brother, Mehran (Reza Sixo Safai), has traded his classical music career for a crack habit. After a stint! in rehab, though, Mehran rejects Western art, embraces Islam, helps out at a mosque--and spies on his family. While he struggles to stay clean and secure a wife, Shireen and Atafeh (Nikohl Boosheri) sneak out to drink and dance to rock and hip-hop with a couple of like-minded male friends. It gradually emerges that the feelings between the girls go deeper than friendship, and the two even participate in a project to dub Gus Van Sant's Milk into Farsi in hopes that other Iranian youth will see the film and agitate for equal rights. After they get in trouble with the law, though, everything changes: Shireen's uncle pressures her to marry, and Atafeh finds her friend slipping away, so she comes up with a plan to solve all their problems at once. Filmed in Beirut, American-born writer-director Maryam Keshavarz's feature-film debut is pitched somewhere between My Son the Fanatic and No One Knows About Persian Cats. If less overtly political, she's equally s! ympathetic towards her protagonists and just as critical of th! e indivi duals and institutions that would stand in their way. --Kathleen C. FennessyJulia Jarmond (Kristin Scott Thomas), an American journalist married to a Frenchman, is commissioned to write an article about the notorious Vel d’Hiv round up, which took place in Paris, in 1942. She stumbles upon a family secret which will link her forever to the destiny of a young Jewish girl, Sarah. Julia learns that the apartment she and her husband Bertrand plan to move into was acquired by Bertrand’s family when its Jewish occupants were dispossessed and deported 60 years before. She resolves to find out what happened to the former occupants: Wladyslaw and Rywka Starzynski, parents of 10-year-old Sarah and four-year-old Michel. The more Julia discovers - especially about Sarah, the only member of the Starzynski family to survive - the more she uncovers about Bertrand’s family, about France and, finally, herself.

Sarah’s Key is based on the book by Tatiana d! e Rosnay.An intrepid journalist brings the past to life in this gripping drama. An American based in Paris, Julia Jarmond (Tell No One's Kristin Scott Thomas) has been working on a piece about a French atrocity while planning to move into an apartment that belongs to her husband Bertrand's family. During the course of her research, she finds that 10-year-old Sarah Starzynski (Mélusine Mayance, a sparky presence) lived in the same Marais flat until 1942 when French authorities wrenched Jewish citizens from their homes during the notorious Vél d'Hiver Roundup (Julia's daughter is only a year older). Unbeknownst to anyone but her parents, Sarah locked up her 4-year-old brother in a hidden closet in hopes of returning to set him free him later, but the trio ends up in a transit camp en route to Auschwitz. Sarah will eventually escape, but the years to come will not be easy. In adapting Tatiana de Rosnay's novel, director Gilles Paquet-Brenner, the son of a deportee, mo! ves back and forth between Sarah and Julia, who finds out she'! s pregna nt in the midst of trips to Florence and New York, but Bertrand doesn't share her joy. A French farmer (A Prophet's Niels Arestrup) and a food writer (Aidan Quinn) also figure into Sarah's story, which merges with Julia's as she finds a way to carry on her legacy. Much as in Julie and Julia, the past proves more compelling than the present, though Scott Thomas holds the narrative together with the force of her talent. --Kathleen C. FennessyWhile preparing for her wedding, Tala meets Leyla, a shy Muslim. Although they come from different worlds, the attraction is immediate and Tala must decide whether to stay true to her culture or to her heart. Starring Lisa Ray, Sheetal Sheth and Nina Wadia.

Callas Forever

  • Callas Forever - Varios Internacional Brazil Import
In this loving tribute to Maria Callas, Zeffirelli imagines what could have happened at the end of her life at the age of 53.Franco Zeffirelli was and is clearly in love with Maria Callas, but unlike the average Callas fan, as a movie director, he was able to do something about it. This superbly made film, about the last few months of the great soprano's life in 1977, moves easily between fact and fantasy to express that love and to give her a more upbeat ending than the one that fate actually dealt her. It is made with the attention to small details that is a hallmark of Zeffirelli's work.

In reality, Callas became a recluse in her luxurious Paris apartment, mourning the loss of her voice, the breakup of her relationship to Aristotle Onassis and the disintegration of her career. Her final days were a nightmare. But Zeffirelli uses his! imagination to rewrite that unhappy ending. He invents a rock producer, Tom Kelly (Jeremy Irons) who clearly is a Zeffirelli figure (the names rhyme). Kelly used to be her manager and has a scheme to revive her career in movies: he will film her greatest roles, using her recordings as soundtracks; she will go through the motions and lip-synch the words. It might have worked; experiments with Carmen, which she recorded but never sang onstage, were certainly promising. But Callas turned down the plan, on grounds of artistic integrity.

But in fact, Zeffirelli does make it work in this movie. Fanny Ardant does a marvelous job as Callas, not only shaping the words of her various arias (digitized and sounding better than ever) but also using facial expressions that speak as eloquently as words. Here is Callas reborn, with all her temperament, anguish and pride. Raw emotions are unleashed, particularly in a production of Tosca, when she stabs the villainous Sc! arpia (Justino Diaz) shouting savagely "muori dannato, muori, ! muori, m uori" ("die , damn you, die, die die") She is avenging all the insults and disappointments of her life; Ardant becomes Callas in such moments. --Joe McLellanInternationally acclaimed director Franco Zeffirelli (Romeo and Juliet, Hamlet) beautifully recreates the magic, passion and artistry of the opera diva Maria Callas, known as "the voice of the century." In this loving tribute to his longtime friend, Zeffirelli imagines what could have happened at the end of Callas' life close to her death at the age of 53. Popular French actress Fanny Ardant perfectly fits the role of the temperamental diva, capturing all the fiery intensity of the legend on and off the stage. Oscar-winner Jeremy Irons shines as the diva's former manager who persuades her to re-launch her career, despite her fading powers. A unique, rare gem of a film featuring actual sound recordings of Callas in performance, CALLAS FOREVER makes a lasting impact as a stunning human portrayal of one of the gre! atest artists of our time.Franco Zeffirelli was and is clearly in love with Maria Callas, but unlike the average Callas fan, as a movie director, he was able to do something about it. This superbly made film, about the last few months of the great soprano's life in 1977, moves easily between fact and fantasy to express that love and to give her a more upbeat ending than the one that fate actually dealt her. It is made with the attention to small details that is a hallmark of Zeffirelli's work.

In reality, Callas became a recluse in her luxurious Paris apartment, mourning the loss of her voice, the breakup of her relationship to Aristotle Onassis and the disintegration of her career. Her final days were a nightmare. But Zeffirelli uses his imagination to rewrite that unhappy ending. He invents a rock producer, Tom Kelly (Jeremy Irons) who clearly is a Zeffirelli figure (the names rhyme). Kelly used to be her manager and has a scheme to revive her career in movies: he w! ill film her greatest roles, using her recordings as soundtrac! ks; she will go through the motions and lip-synch the words. It might have worked; experiments with Carmen, which she recorded but never sang onstage, were certainly promising. But Callas turned down the plan, on grounds of artistic integrity.

But in fact, Zeffirelli does make it work in this movie. Fanny Ardant does a marvelous job as Callas, not only shaping the words of her various arias (digitized and sounding better than ever) but also using facial expressions that speak as eloquently as words. Here is Callas reborn, with all her temperament, anguish and pride. Raw emotions are unleashed, particularly in a production of Tosca, when she stabs the villainous Scarpia (Justino Diaz) shouting savagely "muori dannato, muori, muori, muori" ("die , damn you, die, die die") She is avenging all the insults and disappointments of her life; Ardant becomes Callas in such moments. --Joe McLellanThis digital document is an article from Siempre!, published by Thomson! Gale on July 25, 2004. The length of the article is 817 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: María Callas vista por Franco Zeffirelli.(Callas Forever)(Reseña de película)
Author: Tomás Pérez Turrent
Publication: Siempre! (Magazine/Journal)
Date: July 25, 2004
Publisher: Thomson Gale
Volume: 51 Issue: 2667 Page: 76(1)

Article Type: Reseña de película

Distributed by Thomson GaleCD > POPULAR MUSIC > ROCK

Cocaine Cowboys

  • The cocaine trade of the 70s and 80s had an indelible impact on contemporary Miami. Smugglers and distributors forever changed a once sleepy retirement community into one of the world s most glamorous hot spots, the epicenter of a $20 billion annual business fed by Colombia s Medellin cartel. By the early 80s, Miami s tripled homicide rate had made it the murder capital of the country, for which a
COCAINE COWBOYS - DVD MovieMore of a real-life exploitation film than a bonafide documentary, Cocaine Cowboys is tailor-made for anyone who worships Brian De Palma's Scarface. It's no surprise that this slick, energetic film found a niche audience among crime-obsessed hip-hoppers; from a journalistic perspective it's an irresponsible mess, but director Billy Corben is obviously more interested in capturing the thrills and danger of the drug trade that transformed Miami, Florida during ! the Miami Vice era of the late 1970s and '80s. Corben has no particular interest in seriously examining the sociopolitical implications of Miami's drug-fueled rise and fall, so Cocaine Cowboys lives up to its title by focusing on some of the most colorful, daring, and outrageously successful survivors of that era, when tons of cocaine were distributed through Miami by the kingpins of Colombia's notorious Medellin cartel. Chief among the many interviewees are Jon Roberts and Mickey Munday (who personally transported over $2 billion worth of cocaine into Miami) and Jorge "Rivi" Ayala, a convicted drug-trade assassin now serving consecutive life terms in prison. They're lively storytellers who are egotistically eager to share their coke-tales, and Corben's only too happy to capture their exploits on film, up to and including the dubious use of violent reenactments that could easily serve as a recruitment film for Tony Montana wannabes.

It's simultaneously dis! gusting and compelling, especially since Corben has a knack fo! r matchi ng swift editing to the pulsing score by TV's original Miami Vice composer Jan Hammer. In the final analysis, it must be said that Cocaine Cowboys succeeds as a brash and breathtaking record of a bygone era, when murder rates were at an all-time high, coke was everywhere, and Miami was financially transformed into a nightlife mecca where criminals were kings. Or queens, as in the case of Griselda Blanco, the ruthless and self-appointed "Godmother" of the cocaine trade, who was responsible for countless murders and as of 2007 remained at large, her whereabouts unknown. All of this deadly life in the fast lane makes for a fascinating movie, but Corben and coproducer David Cypkin's breathless commentary makes it clear that they're young, immature thrill-seekers, and their film makes no apologies for glorifying the drug trade while exploring its bloody and frequently fatal consequences. Their commentary also accompanies an abundance of deleted scenes, and there's a! lso a bonus featurette, "Hustlin' with the Godmother," in which Griselda Blanco's former lover and big-time coke dealer Charles Cosby tells his story, which clearly has all the makings of a Hollywood movie along the lines of Blow. You can bet that film will eventually be made, and don't be surprised if it's Corben who makes it. --Jeff Shannon

Monday, November 14, 2011

Green Toys Race Car-Blue

Cold Creek Manor

  • Finally putting an end to their days as slaves to the hustle-and-bustle of city life, Gothamites Cooper Tilson (Dennis Quaid) and his wife, Leah (Sharon Stone), pack up their kids and all their possessions and move into a recently repossessed mansion in the sticks of New York State. Once grand and elegant, the Cold Creek Manor is now a shambles, but Cooper and Leah have plenty of time to renovate.
COLD CREEK MANOR is a heart-pounding thriller that will keep you on the edge of your seat in tension-filled suspense. Wanting to escape city life for the saner, safer countryside, New Yorkers Cooper Tilson (Dennis Quaid), his wife Leah (1995 Golden Globe winner Sharon Stone, Best Actress, CASINO), and their two children move into a dilapidated old mansion still filled with the possessions of the previous family. Turning it into their dream house soon becomes a living nightmare when the previous owne! r (Stephen Dorff) shows up, and a series of terrifying incidents lead them on a spine-tingling search for clues to the estate's dark and lurid past.Turn off your brain and Cold Creek Manor just might turn into an entertaining thriller. Taking an uncharacteristic detour into nonsensical plot mechanics, director Mike Figgis expertly pushes buttons with this nerve-jangling but ultimately hackneyed story (by Richard Jeffries) about a documentary filmmaker (Dennis Quaid) who moves his wife (Sharon Stone) and two kids into a run-down rural mansion once owned by the family of a simmering ex-convict (Stephen Dorff), who's got secret reasons for wanting Quaid's family to leave. This rote potboiler wants to be as thrilling as Fatal Attraction, but it's more like Pacific Heights--fun to watch as the tension escalates with Dorff's violent behavior, but seriously flawed as plot holes proliferate. With a few good shocks and slinky support from Juliette Lewis, it's pe! rfectly enjoyable as a popcorn distraction, but maybe they sho! uld've c alled it Cold Creaky Manor instead. --Jeff Shannon

The Count of Monte Cristo

  • Jim Caviezel (High Crimes) and Guy Pearce (The Time Machine) give sizzling performances in The Count Of Monte Cristo - the greatest tale of betrayal, adventure and revenge the world has never known. When the dashing and guileless Edmond Dantes (Caviezel) is betrayed by his best friend (Pearce) and wrongly imprisoned, he becomes consumed by thoughts of vengeance. After a miraculous escape, he trans
Jim Caviezel (HIGH CRIMES) and Guy Pearce (THE TIME MACHINE) give sizzling performances in THE COUNT OF MONTE CRISTO -- the greatest tale of betrayal, adventure, and revenge the world has ever known. When the dashing and guileless Edmond Dantes (Caviezel) is betrayed by his best friend (Pearce) and wrongly imprisoned, he becomes consumed by thoughts of vengeance. After a miraculous escape, he transforms himself into the mysterious and wealthy Count of Monte Cristo, insinuates himself into the French! nobility, and puts his cunning plan of revenge in action. This swashbuckling thriller will have you sitting on the edge of your seat until the last ounce of revenge is exacted.Revenge rarely gets sweeter than it does in The Count of Monte Cristo, a rousing, impeccably crafted adaptation of Alexandre Dumas père's literary classic. Filmed countless times before, the story is revitalized by director Kevin Reynolds (rallying after Waterworld) and screenwriter Jay Wolpert, who wisely avoid the action-movie anachronisms that plagued 2001's dubious Dumas-inspired The Musketeer. Leading a superior cast, Jim Caviezel (Frequency) expresses a delicate balance of obsession and nobility as Dantes, the wrongly accused Frenchman who endures 13 years of prison and torment, then uses a hidden treasure to finance elaborate vengeance on those who wronged him. Memento's Guy Pearce is equally effective as Dantes's betraying nemesis, and Richard Harris tops h! is Harry Potter wizardry with a humorous turn as Dantes! 's fello w prisoner and mentor. Filmed on stunning locations in Ireland and Malta, The Count of Monte Cristo easily matches Rob Roy for intelligent swashbuckling entertainment. --Jeff Shannon