Sunday, November 27, 2011

A Dog of Flanders

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A classic sentimental story of a rustic boy, Patrasche, and his beloved dog. T! he boy desires to be an artist and the dog helps him reach his goal. Both of them face various hardships to fulfill the dream. The novel stresses the need for hard work in order to realize an ambition. Undoubtedly a wonderful piece of writing that will be engraved in the reader’s memory. Timeless!

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Far From Heaven (Blu-ray)

  • Far From Heaven (Blu-ray)
  • Far From Heaven
  • James Rebhorn,Dennis Haysbert
  • Dennis Quaid,Julianne Moore
  • Drama, romance
Cathy and Frank Whitaker, a seemingly perfect fifties' couple face the breakdown of their marriage because of conflicting desires.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 24-AUG-2004
Media Type: DVDThis uniquely beautiful film--from one of the smartest and most idiosyncratic of contemporary directors, Todd Haynes (Safe, Velvet Goldmine)--takes the lush 1950s visual style of so-called women's pictures (particularly those of Douglas Sirk, director of Imitation of Life and Magnificent Obsession) to tell a story that mixes both sexual and racial prejudice. Julianne Moore, an amazing fusion of vulnerability and will power, plays a housewife whose husband (Dennis Quai! d) has a secret gay life. When she finds solace in the company of a black gardener (Dennis Haysbert), rumors and peer pressure destroy any chance she has at happiness. It's astonishing how a movie with such a stylized veneer can be so emotionally compelling; the cast and filmmakers have such an impeccable command of the look and feel of the genre that every moment is simultaneously artificial and deeply felt. Far from Heaven is ingenious and completely engrossing. --Bret FetzerJulianne Moore (Hannibal, Boogie Nights) and Dennis Quaid (The Rookie,Frequency) star in this seductive story of a seemingly perfect family, and the forbidden desires that threaten to tear them apart. Cathy Whitaker (Moore) has it allùa lovely home, two wonderful children and a handsome husband(Quaid), who is successfully climbing the corporate ladder. But Cathy's idyllic existence is just an illusion, and she is eventually forced to choose between living a lie or following her heart. Academy Award« nominee* Moore is a vision, declared Rex Reed, and he called Quaid's performance the best of his career, in this stunning drama hailed by the NewYork Post as one of the year's best.

House of Sand and Fog

  • ISBN13: 9780393338119
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

The National Book Award finalist, Oprah Book Club pick, #1 New York Times bestseller and basis for the Oscar-nominated motion picture.

A former colonel in the Iranian Air Force yearns to restore his family's dignity. A recovering alcoholic and addict down on her luck struggles to hold on to the one thing she has left. And her lover, a married cop, is driven to extremes to win her love.

In this masterpiece of American realism and Shakespearean consequence, Andre Dubus III's unforgettable charactersâ€"people with ordinary flaws, looking for a small piece of ground to stand onâ€"careen toward inevitable conflict, their tragedy painting a shockingly true pi! cture of the country we live in today.Oprah Book Club® Selection, November 2000: Andre Dubus III wastes no time in capturing the dark side of the immigrant experience in America at the end of the 20th century. House of Sand and Fog opens with a highway crew composed of several nationalities picking up litter on a hot California summer day. Massoud Amir Behrani, a former colonel in the Iranian military under the Shah, reflects on his job-search efforts since arriving in the U.S. four years before: "I have spent hundreds of dollars copying my credentials; I have worn my French suits and my Italian shoes to hand-deliver my qualifications; I have waited and then called back after the correct waiting time; but there is nothing." The father of two, Behrani has spent most of the money he brought with him from Iran on an apartment and furnishings that are too expensive, desperately trying to keep up appearances in order to enhance his daughter's chance! s of making a good marriage. Now the daughter is married, and ! on impu lse he sinks his remaining funds into a house he buys at auction, thus unwittingly putting himself and his family on a trajectory to disaster. The house, it seems, once belonged to Kathy Nicolo, a self-destructive alcoholic who wants it back. What starts out as a legal tussle soon escalates into a personal confrontation--with dire results.

Dubus tells his tragic tale from the viewpoints of the two main adversaries, Behrani and Kathy. To both of them, the house represents something more than just a place to live. For the colonel, it is a foot in the door of the American dream; for Kathy, a reminder of a kinder, gentler past. In prose that is simple yet evocative, House of Sand and Fog builds to its inevitable denouement, one that is painfully dark but unfailingly honest. --Alix Wilber

Alien Anthology [Blu-ray]

  • Condition: New
  • Format: Blu-ray
  • AC-3; Box set; Dolby; DTS Surround Sound; Dubbed; Subtitled; Widescreen
Brace yourself for a whole new breed of Blu-ray: Four powerful films...eight thrilling versions...in dazzling, terrifying, high-def clarity with the purest digital sound on the planet. Two bonus dics and over 65 hours of archival and never-before-seen content, including the totally immersive MU-TH-UR mode feature, makes this definitive Alien collection!Review of Alien
A landmark of science fiction and horror, Alien arrived in 1979 between Star Wars and The Empire Strikes Back as a stylishly malevolent alternative to George Lucas's space fantasy. Partially inspired by 1958's It! The Terror from Beyond Space, this instant classic set a tone of its own, offering richly detailed sets, ominous atmosphere, relentless suspense, and a flawless ! ensemble cast as the crew of the space freighter Nostromo, who fall prey to a vicious creature (designed by Swiss artist H.R. Giger) that had gestated inside one of the ill-fated crew members. In a star-making role, Sigourney Weaver excels as sole survivor Ripley, becoming the screen's most popular heroine in a lucrative movie franchise. To measure the film's success, one need only recall the many images that have been burned into our collective psyche, including the "facehugger," the "chestburster," and Ripley's climactic encounter with the full-grown monster. Impeccably directed by Ridley Scott, Alien is one of the cinema's most unforgettable nightmares. --Jeff Shannon

Review of Aliens
Aliens is one of the few cases of a sequel that far surpassed the original. Sigourney Weaver returns as Ripley, who awakens on Earth only to discover that she has been hibernating in space so long that everyone she knows is dead. Then she i! s talked into traveling (along with a squad of Marines) to a p! lanet un der assault by the same aliens that nearly killed her. Once she gets there, she finds a lost little girl who triggers her maternal instincts--and she discovers that the company has once again double-crossed her, in hopes of capturing one of the aliens to study as a military weapon. Directed and written by James Cameron, this is one of the most intensely exciting (not to mention intensely frightening) action films ever, with a large ensemble cast that includes Bill Paxton, Lance Henriksen, Paul Reiser, and Michael Biehn. Weaver defined the action woman in this film and walked away with an Oscar nomination for her trouble. --Marshall Fine

Review of Alien 3
The least successful film in this series was directed by stylemaster (and content-underachiever) David Fincher. Ripley, the only survivor of her past mission, awakens on a prison planet in the far corners of the solar system. As she tries to recover, she realizes that not on! ly has an alien gotten loose on the planet, the alien has implanted one of its own within her. As she battles the prison authorities (and is aided by the prisoners) in trying to kill the alien, she must also cope with a distinctly shortened lifespan that awaits her. But the striking imagery makes for muddled action and the script confuses it further. The ending looks startling but it takes a long time--and a not particularly satisfying journey--to get there. --Marshall Fine

Review of Alien Resurrection
Perhaps these films are like the Star Trek movies: The even-numbered episodes are the best ones. Certainly this film (directed by French stylist Jean-Pierre Jeunet) is an improvement over Alien 3, with a script that breathes exciting new life into the franchise. This chapter is set even further in the future, where scientists on a space colony have cloned both the alien and Ripley (Sigourney Weaver), who died! in Alien 3; in doing so, however, they've mixed alien DNA wit! h Ripley 's human chromosomes, which gives Ripley surprising power (and a bad attitude). A band of smugglers comes aboard only to discover the new race of aliens--and when the multi-mouthed melonheads get loose, no place is safe. But, on the plus side, they have Ripley as a guide to help them get out. Winona Ryder is on hand as the smugglers' most unlikely crew member (with a secret of her own), but this one is Sigourney's all the way. --Marshall Fine

Clash of the Gods: 3 - Disc Set

  • Reacquaint yourself with myths so powerful that they remain woven into the fabric of the present world, resonating with real-life relevance.Thousands of years ago, they were used to help frame the world of the ancients, and dictate the guidelines of their societies. Today, they are often the first stories we learn as children, iconic tales where good and evil clash, and humanity and fantasy collid
Ian McKellen delivers a riveting award-winning performance as Hollywood horror director James Whale. It's 1957 and Whale's heyday as the director of Frankenstein Bride of Frankenstein and The Invisible Man is long behind him. Retired andia semi-recluse he lives his days accompanied only by images from his past. When his dour housekeeper Hannah (Lynn Redgrave) hires a handsome young gardener Clayton Boone (Brendan Fraser) the flamboyant director and simple yard man develop an unlikely friendship. Thi! s powerful and poignant relationship will change their lives forever.System Requirements:Starring Brendan Fraser Ian McKellen Lolita Davidovich Lynn Redgrave Directed by Bill Condon Running time: 105 minutes Copyright Lion's Gate 2003Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 031398833222 Manufacturer No: 71872One of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into mela! ncholy remembrance of things past. Flashbacks of lost love, Wo! rld War  I battle trauma, and glory days in Hollywood combine with Whale's present-day attraction to a newly hired yard worker (Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.

The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly ! affectionate film that succeeds on many levels. It is at once a keen glimpse of Hollywood's past, a loving tribute to James Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonOne of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into melancholy remembrance of things past. Flashbacks of lost love, ! World War I battle trauma, and glory days in Hollywood combin! e with W hale's present-day attraction to a newly hired yard worker (Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.

The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly affectionate film that succeeds on many levels. It is at onc! e a keen glimpse of Hollywood's past, a loving tribute to James Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonOne of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into melancholy remembrance of things past. Flashbacks of lost love, World War I battle trauma, and glory days in Hollywood comb! ine with Whale's present-day attraction to a newly hired yard ! worker ( Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.

The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly affectionate film that succeeds on many levels. It is at once a keen glimpse of Hollywood's past, a loving tribute to Ja! mes Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff Shannon

Previously titled Father of Frankenstein, this acclaimed novel was the basis for the 1998 film starring Sir Ian McKellen, Lynn Redgrave, and Brendan Fraser. It journeys back to 1957 Los Angeles, where James Whale, the once-famous director of such classics as Frankenstein and Bride of Frankenstein, is living in retirement, haunted by his past. Rescuing him from his too-vivid imagination is his gardener, a handsome ex-marine. The friendship between these two very different men is sometimes tentative, sometimes touching, often dangerousâ€"and always captivating.

This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

Reacquaint yourself with myths so powerful that they remain woven into the fabric of the present world, resonating! with real-life relevance.

Thousands of years ago, they! were us ed to help frame the world of the ancients, and dictate the guidelines of their societies. Today, they are often the first stories we learn as children, iconic tales in which good and evil clash, and humanity and fantasy collide. But what is the reality behind these stories? From the epic tragedy of Medusa, Greek mythology s most infamous female fiend, to Hercules, its greatest action hero, and Hades, master of the land of the dead and a god so feared no one would speak his name, explore these myths and the legendary figures who inspired them in CLASH OF THE GODS. Each episode connects ancient myths to actual historical events, as well as to events in the Bible and other cultures mythologies, gaining important historical insight from renowned scholars in search of the truth behind the legends.

This 10-part series on two discs travels back in time to reveal the stories behind some of history s most infamous mythological figures and legends including:

Zeus
! Hercules
Hades
The Minotaur
Medusa
Odysseus: Curse of the Sea
Beowulf
Tolkien s Monsters
Thor
And moreIt's paradoxical that the most heavily invented and imagined parts in this 10-episode Clash of the Gods series are so much less riveting than the simple storytelling by scholars cast to recap the myths in classroom-lecture style. In these hour-long episodes, myths are dramatized with acting that borders on farce. Men pumping their muscles and grunting or monsters' eyes glowing flaccidly into the camera lens are marked periodically by CG blood splatters and modern primitive tattoo designs blazing across the screen that do nothing for Greek myth except make it feel oafish. Even narrator Stan Bernard's rowdy, punctuated speaking style reminds one of narration for a detective show or a wrestling match instead of an educational documentary highlighting history's greatest mythic heroes. While modernizing ancient myth is a controversial topic, ! there are many reasons a television show visually explicating ! the clas sics to reach new generations is a great idea. But the erratic, hectic visual style of this series does a disservice to already-exciting stories that, according to the show's mission, explain the ancient world's belief that nature was subject to the gods. Clash of the Gods' other premise, more in keeping with its sensationalistic tone, is to expose hidden truths behind the myths.

The majority of the series devotes episodes to the rise of the Olympian gods, beginning with Zeus's battle with his father, Kronos, and the Titans. Images of Zeus with a ridiculous white lightning bolt painted across his face repeat ad nauseam throughout to supposedly show how Zeus took control of mortal earth until consumed by his "uncontrollable sex drive." Likewise, the episode "Hercules" depicts a well-oiled man in tight underwear roaming the desert to elucidate how he is the world's "ultimate superhero." Only scholars like Tom Stone, who humorously likens Hercules to Babe Ruth, or Mi! chael Fontaine from Cornell University, do any justice to the exploration of metaphorical connections between Hercules's 12-challenge quest and the ordeals humans were experiencing when the myth was popular. "Minotaur" better achieves its aim to link truths to the myth, by linking historical wars between the Cretans and Athenians to the horrific tale of the man-eating Cretan beast, deemed Athenian propaganda by historians like David George at Saint Anselm College. Also meaningful is the narrative thread in this episode about Theseus's dual fathers, one mortal and one god, and the fantastic connection between historical politicians, such as Alexander the Great, who believed that they too were conceived of two men. While "Medusa," the two-episode "Odysseus," and "Beowulf" do zilch to enlighten beyond basic redundant storytelling, the lamest episode of all is "Tolkien's Monsters," a heavy-handed look at how J.R.R. Tolkien's Middle Earth was inspired by his days in the trenches! during World War I. While the information in this series is i! nformati ve and interesting, simulated drama and footage that repeats as if the History Channel ran out of material to edit in makes for possibly the worst series on mythology out there. Save your money and read the books instead. --Trinie Dalton

Fair Game

  • Jessica, a beautiful young woman, alone on an isolated outback farm in Australia, becomes the unwilling participant in a series of dangerous games with three shooters. At first they are content to tease and shock her, but when they star shooting on her land and endangering wildlife she is forced to take a stand. One by one, Jessica's avenues of escape are destroyed and she is forced to fight f
From the director of The Bourne Identity comes this riveting thriller inspired by the experiences of real-life CIA officer Valerie Plame (Academy Award® nominee Naomi Watts). When Plame's retired ambassador husband Joe Wilson (played by Academy Award® winner Sean Penn) writes a newspaper article challenging the basis for the U.S. war on Iraq, the White House leaks Plame s undercover status leaving her international contacts vulnerable, her career in shambles and her life in danger. Crackling with shar! p dialogue, gripping intrigue and heart-pounding suspense, Fair Game is the adventure that s so unbelievable, it can only be realThe skullduggery surrounding the Valerie Plame affair is already the stuff of an espionage thriller, even if at the time of the making of Fair Game many details of the incident remained murky. Naomi Watts plays Plame, a longtime CIA agent whose classified status was exposed to the world by columnist Robert Novak in 2003. The move was widely seen as retaliation for the fact that Plame's husband, diplomat Joseph Wilson (Sean Penn), had just written an op-ed piece contradicting an assertion in President Bush's State of the Union address--an assertion that was part of the Bush administration's drum-beating enthusiasm for the Iraq War. The movie can't answer all the questions about who wanted Plame exposed, but at the least it could create a convincing piece of Beltway intrigue. Instead, Fair Game steers in the direction of domestic melod! rama, as the marriage between Plame and Wilson is severely tes! ted by t he unwanted notoriety. It's not that the actors are unable to bring this situation to life; Penn is forceful (and he cleverly suggests the vanity of a longtime cocktail-party maven), while Watts, though quite capable, is somewhat frozen by her character's mixed, ambivalent reactions. The main problem is simply that these relationship scenes tip the balance, as though the Plame-Wilson marriage carried greater weight than allegations of weapons of mass destruction and the ramp-up to the Iraq War. Meanwhile, director Doug Liman tries to whip up some spy-movie "energy" with lots of noise and cutting, all of which feels increasingly hollow as the movie goes along. A calmer, cleaner documentary on the same subject might do a superior job someday. --Robert HortonPlames status as a cia agent was revealed by white house officials allegedly out to discredit her husband after he wrote a 2003 new york times op-ed piece saying that the bush administration had manipulated intellige! nce about weapons of mass destruction to justify the invasion of iraq. Studio: Uni Dist Corp. (summit) Release Date: 03/29/2011 Starring: Naomi Watts Sean Penn Run time: 107 minutes Rating: Pg13 Director: Doug LimanThe skullduggery surrounding the Valerie Plame affair is already the stuff of an espionage thriller, even if at the time of the making of Fair Game many details of the incident remained murky. Naomi Watts plays Plame, a longtime CIA agent whose classified status was exposed to the world by columnist Robert Novak in 2003. The move was widely seen as retaliation for the fact that Plame's husband, diplomat Joseph Wilson (Sean Penn), had just written an op-ed piece contradicting an assertion in President Bush's State of the Union address--an assertion that was part of the Bush administration's drum-beating enthusiasm for the Iraq War. The movie can't answer all the questions about who wanted Plame exposed, but at the least it could create a convincing pi! ece of Beltway intrigue. Instead, Fair Game steers in t! he direc tion of domestic melodrama, as the marriage between Plame and Wilson is severely tested by the unwanted notoriety. It's not that the actors are unable to bring this situation to life; Penn is forceful (and he cleverly suggests the vanity of a longtime cocktail-party maven), while Watts, though quite capable, is somewhat frozen by her character's mixed, ambivalent reactions. The main problem is simply that these relationship scenes tip the balance, as though the Plame-Wilson marriage carried greater weight than allegations of weapons of mass destruction and the ramp-up to the Iraq War. Meanwhile, director Doug Liman tries to whip up some spy-movie "energy" with lots of noise and cutting, all of which feels increasingly hollow as the movie goes along. A calmer, cleaner documentary on the same subject might do a superior job someday. --Robert HortonAN ATTORNEY AND A COP ON THE RUN FROM A HIGH TECH CRIME RINGTHAT CAN TRACK THEIR EVERY MOVE.She's a lawyer. He's a cop. Som! e former KGB-types with a wide variety of slippery accents and enough sophisticated technological surveillance gadgets to make one wonder how the Soviet Union could have possibly failed, want her dead. The cop (William Baldwin) is the only man who can save her. It helps that the high-powered attorney is played by Cindy Crawford, who gives new meaning to the phrase "habeas corpus." So the plot doesn't make any sense: First they try to kill her, no questions asked. Then they capture her and spill their guts about all the details of their nefarious plan. But logic is not what Fair Game is about. It's about explosions, car crashes, and more explosions. The only pauses in the action are for showers (one for Baldwin, two for Crawford) and a change of clothing (Crawford slips out of a tight T-shirt into an even tighter tank top). The best feature of the DVD is the addition of a Gallic track. With very little actual sex in the movie, having the main characters ! conversing in French definitely adds some sauciness to the di! alogue s cenes. --Richard Natale

Patricia Briggs, the #1 New York Times bestselling author of the Mercy Thompson novels, "always enchants her readers." (Lynn Viehl, New York Times bestselling author) Now her Alpha and Omega series-set in a world of shifting shapes, loyalty, and passion- brings werewolves out of the darkness and into a society where fear and prejudice could make the hunters prey...

They say opposites attract. And in the case of werewolves Anna Latham and Charles Cornick, they mate. The son-and enforcer-of the leader of the North American werewolves, Charles is a dominant alpha. While Anna, an omega, has the rare ability to calm others of her kind.

Now that the werewolves have revealed themselves to humans, they can't afford any bad publicity. Infractions that could have been overlooked in the past must now be punished, and the strain of doing his father's dirty work is taking a toll on Charles.

Nevertheless, Charle! s and Anna are sent to Boston, when the FBI requests the pack's help on a local serial killer case. They quickly realize that not only the last two victims were werewolves-all of them were. Someone is targeting their kind. And now Anna and Charles have put themselves right in the killer's sights...

FAIR GAME - DVD MovieFROM THE EXECUTIVE PRODUCER OF THE BOURNE FILMS COMES THE MAJOR MOTION PICTURE STARRING SEAN PENN AND NAOMI WATTS

Based on Fair Game, Valerie Plame Wilson’s historic and unvarnished account of the personal and international consequences of speaking truth to power.On July 6, 2003, four months after the United States invaded Iraq, former ambassador Joseph Wilson's now historic op-ed, "What I Didn't Find in Africa," appeared in The New York Times. A week later, conservative pundit Robert Novak revealed in his newspaper column that Ambassador Wilson's wife, Valerie Plame Wilson, was a CIA operative. The public disclosure of ! that secret information spurred a federal investigation and le! d to the trial and conviction of Vice President Dick Cheney's chief of staff, Scooter Libby, and the Wilsons' civil suit against top officials of the Bush administration. Much has been written about the "Valerie Plame" story, but Valerie herself has been silent, until now. Some of what has been reported about her has been frighteningly accurate, serving as a pungent reminder to the Wilsons that their lives are no longer private. And some has been completely false--distorted characterizations of Valerie and her husband and their shared integrity.

Valerie Wilson retired from the CIA in January 2006, and now, not only as a citizen but as a wife and mother, the daughter of an Air Force colonel, and the sister of a U.S. marine, she sets the record straight, providing an extraordinary account of her training and experiences, and answers many questions that have been asked about her covert status, her responsibilities, and her life. As readers! will see, the CIA still deems much of the detail of Valerie's story to be classified. As a service to readers, an afterword by national security reporter Laura Rozen provides a context for Valerie's own story.

Fair Game is the historic and unvarnished account of the personal and international consequences of speaking truth to power.



Read the First Chapter from Fair Game

Joining the CIA
Our group of five--three men and two women--trekked through an empty tract of wooded land and swamp, known in CIA terms as the "Farm." It was 4 a.m. and we had been on the move all night. Having practiced escape and evasion from an ostensible hostile force--our instructors--we were close to meeting up with our other classmates. Together we would attack the enemy, then board a helicopter to safety. This exercise, called the final assault, was the clima! x of our paramilitary training. Each of us carried eighty-! pound ba ckpacks, filled with essential survival gear: tents, freeze-dried food, tablets to purify drinking water, and 5.56 mm ammunition for our M-16s. The late fall weather was bitter, and slimy water sloshed in our combat boots. A blister on my heel radiated little jabs of stinging pain. My friend Pete, a former Army officer, usually ready with a wisecrack and a smirk, hadn't spoken in hours, while John, our resident beer guzzler, carried not only his backpack but at least fifty extra pounds of body weight. His round face was covered with mud and sweat.

Read the Publisher's Note and First Chapter from Fair Game




FROM THE EXECUTIVE PRODUCER OF THE BOURNE FILMS COMES THE MAJOR MOTION PICTURE STARRING SEAN PENN AND NAOMI WATTS

Based on Fair Game, Valerie Plame Wilson’s historic and unvarnished account of the personal and international consequences of speaking truth to p! ower.FROM THE EXECUTIVE PRODUCER OF THE BOURNE FILMS COMES THE MAJOR MOTION PICTURE STARRING SEAN PENN AND NAOMI WATTS

Based on Fair Game, Valerie Plame Wilson’s historic and unvarnished account of the personal and international consequences of speaking truth to power.On July 6, 2003, four months after the United States invaded Iraq, former ambassador Joseph Wilson's now historic op-ed, "What I Didn't Find in Africa," appeared in The New York Times. A week later, conservative pundit Robert Novak revealed in his newspaper column that Ambassador Wilson's wife, Valerie Plame Wilson, was a CIA operative. The public disclosure of that secret information spurred a federal investigation and led to the trial and conviction of Vice President Dick Cheney's chief of staff, Scooter Libby, and the Wilsons' civil suit against top officials of the Bush administration. Much has been written about the "Valerie Plame" story, but Valerie herself ! has been silent, until now. Some of what has been reported! about h er has been frighteningly accurate, serving as a pungent reminder to the Wilsons that their lives are no longer private. And some has been completely false--distorted characterizations of Valerie and her husband and their shared integrity.

Valerie Wilson retired from the CIA in January 2006, and now, not only as a citizen but as a wife and mother, the daughter of an Air Force colonel, and the sister of a U.S. marine, she sets the record straight, providing an extraordinary account of her training and experiences, and answers many questions that have been asked about her covert status, her responsibilities, and her life. As readers will see, the CIA still deems much of the detail of Valerie's story to be classified. As a service to readers, an afterword by national security reporter Laura Rozen provides a context for Valerie's own story.

Fair Game is the historic and unvarnished account of the personal and international ! consequences of speaking truth to power.



Read the First Chapter from Fair Game

Joining the CIA
Our group of five--three men and two women--trekked through an empty tract of wooded land and swamp, known in CIA terms as the "Farm." It was 4 a.m. and we had been on the move all night. Having practiced escape and evasion from an ostensible hostile force--our instructors--we were close to meeting up with our other classmates. Together we would attack the enemy, then board a helicopter to safety. This exercise, called the final assault, was the climax of our paramilitary training. Each of us carried eighty-pound backpacks, filled with essential survival gear: tents, freeze-dried food, tablets to purify drinking water, and 5.56 mm ammunition for our M-16s. The late fall weather was bitter, and slimy water sloshed in our combat boots. A blister on my hee! l radiated little jabs of stinging pain. My friend Pete, a! former Army officer, usually ready with a wisecrack and a smirk, hadn't spoken in hours, while John, our resident beer guzzler, carried not only his backpack but at least fifty extra pounds of body weight. His round face was covered with mud and sweat.

Read the Publisher's Note and First Chapter from Fair Game




Jessica, a beautiful young woman, alone on an isolated outback farm in Australia, becomes the unwilling participant in a series of dangerous games with three shooters. At first they are content to tease and shock her, but when they star shooting on her land and endangering wildlife she is forced to take a stand. One by one, Jessica's avenues of escape are destroyed and she is forced to fight for her life. Jessica sets up whatever makeshift defenses she can and waits for the inevitable showdown. In the mayhem of the climax her farm is reduced to smoking ruins, but her courage and endur! ance proves to be a match for the brute strength of man and machine

The Hills Have Eyes 2 (Unrated Edition)

  • Actors: Cécile Breccia, Michael Bailey Smith, Archie Kao, Jay Acovone, Jeff Kober.
  • Format: AC-3, Color, Dolby, Dubbed, DVD, Subtitled, Widescreen, NTSC.
  • Language: English (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround), Spanish (Dolby Digital 2.0 Surround). Subtitles: English, Spanish.
  • Region: Region 1 (U.S. and Canada only).
  • Run Time: 89 minutes. Rated R.
National Guard soldiers stop at a New Mexican outpost only to find the isolated camp mysteriously deserted. Little do they know that these are the very hills that the ill-fated Carter family once visited, and that a tribe of cannibalistic mutants lies in wait.

For die-hard horror fans, The Hills Have Eyes 2 is a knock-off remake/sequel that delivers a few queasy thrills. While it represents a minor improvement over the 1985 sequel to Wes Craven's 1977 original (you know, the one with the no! torious "canine flashback"), it's yet another cookie-cutter exercise in death by stupidity, focusing its Aliens-in-the-desert plot on a scrappy, ill-tempered unit of National Guard soldiers who've been sent to investigate the first remake's hellish aftermath in the bomb-tested wastelands of Nevada. (Like its far-superior 2006 predecessor, this sequel was shot on location in Morocco.) Unfortunately these bickering recruits are an embarrassment to their inauthentic-looking uniforms, and their reckless inexperience (not to mention a tired, uninspired screenplay by Craven and his son Jonathan) makes them easy targets for the ravenous, irradiated mutants who dwell within a treacherous network of tunnels and caves. As the generically good-looking cast is reduced to a few terrorized survivors (which somehow doesn't stop costars Jessica Stroup and Daniella Alonso from looking like fashion models), music-video director Martin Weisz switches to auto-pilot in his dubious feature debut! , serving up a basically plotless succession of grisly makeup ! FX by Ho ward Berger and his crack team of gore-mongers. The gross-out factor is sufficiently amusing (including one soldier pulled through a hole with one leg in the totally wrong direction), but even devoted horror connoisseurs will have to admit this is pretty lame stuff. --Jeff Shannon


Beyond The Hills Have Eyes 2


All Hills Have Eyes Movies

The Hills Have Eyes: The Beginning

Wes Craven: The Art of Horror



Stills from The Hills Have Eyes








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

The Da Vinci Code

  • ISBN13: 9780307474278
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
PREMIUM MASS MARKET EDITION

#1 Worldwide Bestsellerâ€"More Than 80 Million Copies Sold

As millions of readers around the globe have already discovered, The Da Vinci Code is a reading experience unlike any other. Simultaneously lightning-paced, intelligent, and intricately layered with remarkable research and detail, Dan Brown's novel is a thrilling masterpieceâ€"from its opening pages to its stunning conclusion.With The Da Vinci Code, Dan Brown masterfully concocts an intelligent and lucid thriller that marries the gusto of an international murder mystery with a collection of fascinating esoteria culled from 2,000 years of Western history.

A murder in! the silent after-hour halls of the Louvre museum reveals a sinister plot to uncover a secret that has been protected by a clandestine society since the days of Christ. The victim is a high-ranking agent of this ancient society who, in the moments before his death, manages to leave gruesome clues at the scene that only his granddaughter, noted cryptographer Sophie Neveu, and Robert Langdon, a famed symbologist, can untangle. The duo become both suspects and detectives searching for not only Neveu's grandfather's murderer but also the stunning secret of the ages he was charged to protect. Mere steps ahead of the authorities and the deadly competition, the mystery leads Neveu and Langdon on a breathless flight through France, England, and history itself. Brown (Angels and Demons) has created a page-turning thriller that also provides an amazing interpretation of Western history. Brown's hero and heroine embark on a lofty and intriguing exploration of ! some of Western culture's greatest mysteries--from the nature! of the Mona Lisa's smile to the secret of the Holy Grail. Though some will quibble with the veracity of Brown's conjectures, therein lies the fun. The Da Vinci Code is an enthralling read that provides rich food for thought. --Jeremy Pugh