Earth 2 - The Complete Series

• Actors: Debrah Farentino, Clancy Brown, Jessica Steen, Antonio Sabato.
• Format: Box set, Closed-captioned, Color, Dolby, Full Screen, NTSC.
• Language: English. Subtitles: English, Spanish.
• Region: Region 1 (U.S. and Canada only).
• Not Rated. Run Time: 1025 minutes.

Another Earth is an unusual hybrid of existential rumination on life choices, mind-bending sci-fi supposition, and challenging indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich! in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a tragic accident while driving drunk after celebrating her acceptance into college. The collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been identified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution an! d motivation, the constant of the alternate Earth, which has b! een stea dily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or is it Earth 1?) becomes the catalyst for her belief that she can fundamentally alter both their lives for the better, but the movie never shows its hand in how or if this might work. Another Earth is another of those high-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewe! rs, many of who may never be able to come up with a satisfying answer. --Ted FryThe story centers around a family with three boys in the 1950s. The eldest son witnesses the loss of innocence. Studio: Tcfhe Release Date: 10/11/2011 Starring: Brad Pitt Jessica Chastain Run time: 181 minutes Rating: Pg13 Director: Terrence MalickThe long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centers on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss! that happened at a later time, but the flashbacks concern onl! y the da rk Eden of Jack's childhood: his games with his two younger brothers, his frustrated, bullying father (Brad Pitt), his one-dimensionally radiant mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted.

And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches a! re simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert HortonJJ Abrams and Steven Spielberg join forces in this extraordinary tale of youth, mystery, and adventure. Super 8 tells the story of six friends who witness a train wreck while making a Super 8 movie, only to learn that something unimaginable escaped during the crash. They soon discover that the only thing more mysterious than what it is, is what it wants. Experience the film that critics rave is, “filled with unstoppable imagination and visual effects to spare. It will ! put a spell on you.” â€" Peter Travers, Rolling StoneFew fil! mmakers have ever had a run at the tables like Steven Spielberg, whose output from 1971's Sugarland Express to, say, 1982's E.T. displayed an amazingly unforced melding of huge set pieces and small human gestures. Even at their most chaotic, they somehow felt organic. Super 8, writer-director J.J. Abrams's authorized tribute to classic Spielbergisms, hits all of the marks (Lived-in suburbia backdrop, check. Awestruck gazes upwards, check. Parental discord, check. Lens flares, amazingly huge check), but its adherence to the formula squelches much of its own potential. Appealing as it is to see a summer movie that retro-prioritizes character development over jittery quick-cut explosions, the viewer is always aware at how furiously it's working to seem effortless. Set in 1979, Abrams's script follows a group of movie-crazy kids attempting to make a zombie flick, only to have their plans cut short by a close encounter with a train derailment. As the military pours o! ver the wreckage and neighbors start disappearing, the gang realizes that their footage contains a cameo appearance by an extremely grumpy guest star. For a film whose promotional campaign hinged so strongly on creating an air of mystery, Super 8 is a fairly straightforward melding of E.T. and Jurassic Park, albeit one featuring an oddly schizophrenic monster (he eats people… until he doesn't). Abrams makes his young cast shine (particularly when developing a hint of romance between leads Joel Courtney and Elle Fanning), while also providing a nice character arc for Kyle Chandler, as a widowed deputy who can see his relationship with his son slipping away. Aside from a few primo early jolts, however, the creature-feature aspects feel increasingly shoehorned in alongside the more assured coming-of-age elements. Abrams's film has more than enough bright spots to warrant a viewing, but its insistence on worshipfully following the master's playbook is a b! it of a bummer. Imitation isn't always flattering. --Andrew! Wright< /i>Another Earth is an unusual hybrid of existential rumination on life choices, mind-bending sci-fi supposition, and challenging indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a tragic accident while driving drunk after celebrating her acceptance into college. Th! e collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been identified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution and motivation, the constant of the alternate Earth, which has been steadily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or is it Earth 1! ?) becomes the catalyst for her belief that she can fundamenta! lly alte r both their lives for the better, but the movie never shows its hand in how or if this might work. Another Earth is another of those high-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewers, many of who may never be able to come up with a satisfying answer. --Ted FryA science-fiction series with an ecological theme, EARTH 2 only ran for one season on NBC, and all 22 episodes of the program are collected here. In the distant future, the surface of the Earth has been largely destroyed, and mankind lives in space stations orbiting the planet. A group of! space colonists, led by Devon Adair (Debrah Farentino) and John Danzinger (Clancy Brown), are sent to a far off planet to prepare it for colonization by the surviving population of Earth. But a mishap sends them careening off-course, crash landing thousands of miles from the proper camp site. EARTH 2 follows the band of colonists as they traverse the planet, encountering dangerous aliens and other humans who view them with distrust and suspicion. By tackling issues like ecology and colonization, EARTH 2 engages important ideas and themes in an entertaining fashion.

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Brother IntelliFax 4750e High-Performance Business-Class Laser Fax

• Super G3, 33.6 kbps high speed fax modem
• Up to 15 ppm laser engine for sharp, fast copying
• 8 MB memory stores up to 600 pages
• 50-page auto document feeder, 250-sheet paper tray
• Parallel and USB interfaces, optional 10/100 baseTX Ethernet

Kinship and partnership united Elie and Harry Susman when they crossed the Zambezi from the south in 1901 and travelled north to buy cattle from King Lewanika in Barotseland. The result was a remarkable family business, Susman Brothers and Wulfsohn, that has flourished for over a century in some of the most logistically difficult, physically challenging and politically problematic environments in the world. An African Trading Empire is a unique diaspora story set against the backdrop of the great themes of European and African history from the Jewish persecution in Europe through colonial Africa to the triumph of Af! rican nationalism and decolonization.

Alchemy 2005 : How to Transmutate Silver or Lead Metal into Created 10KT Gold Coins ? " Gold can be manufactured from other elements by several methods...The transmutation of silver to gold is perhaps the easiest -- or least difficult --" Facts on Lead Metal and its Transmutation into Gold (1) Lead metal has 82 protons & electrons and contains Gold in it already. (2) Lead metal will transmutate into Gold when bombarded with a source of neutrons. (3) It is alleged that Lead naturally transmutes into Gold over millions of years within a vein of quartz chrystals and the piezo electric effect interaction, like coal into diamonds. (4) Certain compounds when added to lead metal , will turn lead into golden color, see " yellow lead . PREVIEW THIS BOOK FREE !!! CLICK THE PREVIEW BUTTONTo many people, Big Brother and the Holding Company has always meant Janis Joplin. Big Brother, who gave Janis a platform for success by giving her the ! freedom and the energy to develop her musical style, were cons! idered a mateurish and unprofessional by many reviewers. Simply put, Janis Joplin's fame and glory overshadowed the band. This book tells the band's story, how difficult it was to find an identity separate from Joplin's towering talent. Big Brother and the Holding Company were and are far more than a Janis Joplin backup band. Big Brother were the pioneers of the San Francisco sound and are among the outstanding representatives of psychedelic music. This book describes the life story of each of the members of Big Brother: where they came from, what their roots were, how they see their time with Janis Joplin, and what they experienced afterwards. It has been written with the close participation of the musicians themselves.This digital document is an article from Cruising Rider, published by Ehlert Publishing Group on July 1, 2005. The length of the article is 1778 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is avai! lable in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Little big brother: 2005 Honda VTX1300R.(TRIAL RUN)(Product/Service Evaluation)
Author: Bill Wolf
Publication: Cruising Rider (Magazine/Journal)
Date: July 1, 2005
Publisher: Ehlert Publishing Group
Volume: 8 Issue: 3 Page: 28(5)

Article Type: Product/Service Evaluation

Distributed by Thomson GaleBLUES BROTHERS 25TH ANNIVERSARY EDITI - DVD MovieAfter building up the duo's popularity through popular recordings and several performances on Saturday Night Live, John Belushi and Dan Aykroyd--as "legendary" Chicago blues brothers Jake and Elwood Blues--took their act to the big screen in this action-packed hit from 1980. As Jake and Elwood strugg! le to reunite their old band and save the Chicago orphanage wh! ere they were raised, they wreak enough good-natured havoc to attract the entire Cook County police force. The result is a big-budget stunt-fest on a scale rarely attempted before or since, including extended car chases that result in the wanton destruction of shopping malls and more police cars than you can count. Along the way there's plenty of music to punctuate the action, including performances by Ray Charles, Aretha Franklin, Cab Calloway, and James Brown that are guaranteed to knock you out. As played with deadpan wit by Belushi and Aykroyd, the Blues Brothers are "on a mission from God," and that gives them a kind of reckless glee that keeps the movie from losing its comedic appeal. Otherwise this might have been just a bloated marathon of mayhem that quickly wears out its welcome (which is how some critics described this film and its 1998 sequel). Keep an eye out for Steven Spielberg as the city clerk who stamps some crucial paperwork near the end of the film. --Jeff Sha! nnonPlain Paper Fax, Brother, IntelliFAX-4750e 33.6K BPS High Speed Laser Fax, PPF4750EThis business class laser fax with 8 MB memory can store up to 600 pages for out-of-paper reception or fax broadcasting to up to 282 separate locations. Dual-access capability and Quick Scan let you scan faxes into memory as fast as two seconds per page while the unit is busy sending or receiving. Plus, its laser engine prints faxes in sharp detail at up to 15 ppm.

A 250-sheet standard paper capacity (letter or legal), up to 50-page auto document feeder, and 232 station auto dialing (32 one-touch keys, plus 200 speed dial locations) combine with a high monthly duty cycle and high yield consumables to handle demanding business applications. An optional second, lower 250-sheet paper tray is available for handling higher-volume applications, or for loading different paper sizes simultaneously.

Delivering high-speed laser performance and reliability at low operating costs, the 47! 50e also copies at up to 15 copies/minute, sorts, enlarges, an! d reduce s (50 to 200 percent). Built-in parallel and USB interfaces support future printing needs. A printer driver is available for download at solutions.brother.com. The unit includes super G3 33.6 kbps support and a four-day battery back-up. It is backed by a one-year warranty.

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Edge of Darkness

• The bullet that killed his daughter was meant for Boston cop Thomas Craven. That s what police brass and Craven himself think, but that s not what the investigation finds. Clue after clue and witness after witness, the search leads him into a shadowy realm where money and political intrigue intersect. If Craven wasn t a target before, he and anyone linked to his inquiry now is. Mel Gibson stars in

The bullet that killed his daughter was meant for Boston cop Thomas Craven. That’s what police brass and Craven himself think, but that’s not what the investigation finds. Clue after clue and witness after witness, the search leads him into a shadowy realm where money and political intrigue intersect. If Craven wasn’t a target before, he--and anyone linked to his inquiry--now is. Mel Gibson stars in his first screen lead in eight years, making Craven’s grief palpable and his quest for paybac! k stone-cold and relentless. Martin Campbell (Casino Royale) directs from a screenplay co-written by The Departed’s William Monahan. Gibson is back, taking us to the edge…and into the sinister darkness.The good news is that Edge of Darkness (no relation to the fine 1943 war picture of that name) brings back Mel Gibson in front of the camera for the first time in nearly a decade. Although he's grown creased and leathery and his thatch has thinned, the movie star who was Mad Max still has the charisma and gravitas to center a dodgy suspense tale and propel it to the finish line. Gibson plays veteran Boston police detective Tom Craven, who welcomes home daughter Emma (Bojana Novakovic) for a rare visit, then sees her shot down at his front door. Because the gunman shouted "Craven!" and because a cop makes enemies, Tom assumes Emma took a bullet meant for him, which adds considerably to his grief and pain. But as he looks into the life of a daughter he loved y! et scarcely knew, he discovers she'd been preparing to turn wh! istleblo wer on her employer, a corporation doing unsavory clandestine things for the government. Craven starts having oblique chats with a philosophical Brit named Jedburgh (Ray Winstone), who keeps turning up unexpectedly--in Craven's backyard at night, say--always giving the distinct impression that he could just as well kill a fellow instead of schmoozing. Their strange rapport, like Craven's tendency to mutter ironical asides as if in ongoing conversation with the departed Emma, is more intriguing than the conspiracy involving corporate skullduggery and a rogue assassination bureau. The bar for that sort of thing was set in post-Watergate days by Alan J. Pakula's The Parallax View, and we're nowhere near its cinematic elegance or pervasive paranoia. Edge of Darkness, based on a British miniseries from 1985, was directed by Martin Campbell, who also handled the six-hour original (and more recently the successful James Bond reboot Casino Royale). Campbell does! decent-enough work--the occasional bursts of "shocking action" do shock even as we know they're coming--but rarely exceeds generic requirements. For killing comparison among contemporary suspense films, catch Roman Polanski's The Ghost Writer, in which every frame unsettlingly conveys a world where disquiet is the natural order of things. --Richard T. Jameson

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Captain America: The First Avenger (Two-Disc Blu-ray/DVD Combo + Digital Copy)

• 1 Blueray Disk Only.
• In Jewel Case
• Preowned
• Great Condition

From the producers of Shaun of the Dead, Attack the Block is a fast, funny, frightening action adventure movie that pits a teen street gang against an invasion of savage alien monsters. It turns a London housing project into a sci-fi battleground, the low-income apartment complex into a fortress under siege. And it turns a crazy mix of tough street kids into a team of kick ass heroes. It’s inner city versus outer space and it’s going to explode. A high-concept, micro-pocketed mash note to John Carpenter and Walter Hill, this Cockney vs. Aliens saga generates an enormous amount of likability out of some very limited means. Executive produced by the folks behind Shaun of the Dead, writer-director Joe Cornish's feature debut mixes gore and gags in a ratio that should drive genre fans bon! kers. Unlike many recent Comic-Con-friendly movies, however, Attack the Block admirably concentrates on actually telling a story first, with the in-jokes and pop-culture references treated as tinsel. Kicking off with a literal bang, Cornish's script follows a group of British teenage punks on the downward slide to outright thugdom. Once a horde of neon-toothed aliens starts falling from the sky, however, the kids find themselves appointed the unlikely protectors of their grotty South London housing complex. Cue the bottle rockets, dirt bikes, and ninja weapons. There's not much to the story beyond that, really, but any narrative sparseness is leavened by some healthy doses of low-budget ingenuity, chief among them the design of the negative-image aliens themselves, which suggest ticked-off wild boars after a serious Rogaine overdose. On the character front, the film also scores, quickly sketching out its team of likable (but not cuddly) bad seeds with distinct person! alities. (That said, American viewers should be prepared to ha! ve at le ast a quarter of the slang fly over their heads.) Clocking in at a just-right 88 minutes, Attack the Block may ultimately never rise above the level of clever homage, but there's copious evidence that the filmmaker already has a firm understanding of what makes B movies tick. While his first film doesn't exactly reinvent the wheel, check out all the neat stuff in the spokes. --Andrew WrightFrom the producers of Shaun of the Dead, Attack the Block is a fast, funny, frightening action adventure movie that pits a teen street gang against an invasion of savage alien monsters. It turns a London housing project into a sci-fi battleground, the low-income apartment complex into a fortress under siege. And it turns a crazy mix of tough street kids into a team of kick ass heroes. It’s inner city versus outer space and it’s going to explode. A high-concept, micro-pocketed mash note to John Carpenter and Walter Hill, this Cockney vs. Aliens saga generate! s an enormous amount of likability out of some very limited means. Executive produced by the folks behind Shaun of the Dead, writer-director Joe Cornish's feature debut mixes gore and gags in a ratio that should drive genre fans bonkers. Unlike many recent Comic-Con-friendly movies, however, Attack the Block admirably concentrates on actually telling a story first, with the in-jokes and pop-culture references treated as tinsel. Kicking off with a literal bang, Cornish's script follows a group of British teenage punks on the downward slide to outright thugdom. Once a horde of neon-toothed aliens starts falling from the sky, however, the kids find themselves appointed the unlikely protectors of their grotty South London housing complex. Cue the bottle rockets, dirt bikes, and ninja weapons. There's not much to the story beyond that, really, but any narrative sparseness is leavened by some healthy doses of low-budget ingenuity, chief among them the design of the ! negative-image aliens themselves, which suggest ticked-off wil! d boars after a serious Rogaine overdose. On the character front, the film also scores, quickly sketching out its team of likable (but not cuddly) bad seeds with distinct personalities. (That said, American viewers should be prepared to have at least a quarter of the slang fly over their heads.) Clocking in at a just-right 88 minutes, Attack the Block may ultimately never rise above the level of clever homage, but there's copious evidence that the filmmaker already has a firm understanding of what makes B movies tick. While his first film doesn't exactly reinvent the wheel, check out all the neat stuff in the spokes. --Andrew WrightTucker and Dale are two best friends on vacation at their dilapidated mountain house, who are mistaken for murderous backwoods hillbillies by a group of obnoxious, preppy college kids. When one of the students gets separated from her friends, the boys try to lend a hand, but as the misunderstanding grows, so does the body count.Slapdash S! cary Movie cycle aside, the slasher genre has proven fairly resistant to effective satire, mainly because the movies themselves already go so far over the top. (After Jason goes to space, where else can you possibly go?) Arriving amidst some monster film festival buzz, Tucker & Dale vs. Evil scores big laughs by slyly inverting the formula, casting the standard backwoods maniacs as bewildered everymen surrounded by accident-prone teens. While it may basically be a one-joke movie, it sustains that joke for a remarkably long time. Kicking off with an effective Blair Witch jab, the story follows Tucker (Alan Tudyk) and Dale (Tyler Labine), two good-natured good ol' boys with aims of fixing up their rickety cabin in the woods into a vacation home. Before they've emptied their first six-pack, they find themselves besieged by a group of stereotypical college kids who start dying in increasingly bizarre ways around them. As the bodies stack like cordwood, the duo! 's obliviousness only grows. First-time director-cowriter Eli ! Craig cl early knows his subject material well, trotting out the skinny-dipping coeds and conveniently placed sharp implements with relish, particularly with a wood chipper that really should have received a supporting actor credit. Clever as the concept is, though, it wouldn't stretch nearly as far without the performances, most notably Labine as a Bigfootish idiot savant and 30 Rock's Katrina Bowden as a Final Girl fully aware of the situation's absurdity. Although the invention may sputter at times, Tucker & Dale provides enough amiable chuckles and ridiculous gore to satisfy even the snootiest genre fan. For the sequel, can we get them near a rocket? --Andrew WrightJJ Abrams and Steven Spielberg join forces in this extraordinary tale of youth, mystery, and adventure. Super 8 tells the story of six friends who witness a train wreck while making a Super 8 movie, only to learn that something unimaginable escaped during the crash. They soon discover th! at the only thing more mysterious than what it is, is what it wants. Experience the film that critics rave is, “filled with unstoppable imagination and visual effects to spare. It will put a spell on you.” â€" Peter Travers, Rolling StoneFew filmmakers have ever had a run at the tables like Steven Spielberg, whose output from 1971's Sugarland Express to, say, 1982's E.T. displayed an amazingly unforced melding of huge set pieces and small human gestures. Even at their most chaotic, they somehow felt organic. Super 8, writer-director J.J. Abrams's authorized tribute to classic Spielbergisms, hits all of the marks (Lived-in suburbia backdrop, check. Awestruck gazes upwards, check. Parental discord, check. Lens flares, amazingly huge check), but its adherence to the formula squelches much of its own potential. Appealing as it is to see a summer movie that retro-prioritizes character development over jittery quick-cut explosions, the viewer is always! aware at how furiously it's working to seem effortless. Set i! n 1979, Abrams's script follows a group of movie-crazy kids attempting to make a zombie flick, only to have their plans cut short by a close encounter with a train derailment. As the military pours over the wreckage and neighbors start disappearing, the gang realizes that their footage contains a cameo appearance by an extremely grumpy guest star. For a film whose promotional campaign hinged so strongly on creating an air of mystery, Super 8 is a fairly straightforward melding of E.T. and Jurassic Park, albeit one featuring an oddly schizophrenic monster (he eats people… until he doesn't). Abrams makes his young cast shine (particularly when developing a hint of romance between leads Joel Courtney and Elle Fanning), while also providing a nice character arc for Kyle Chandler, as a widowed deputy who can see his relationship with his son slipping away. Aside from a few primo early jolts, however, the creature-feature aspects feel increasingly shoehorned in alon! gside the more assured coming-of-age elements. Abrams's film has more than enough bright spots to warrant a viewing, but its insistence on worshipfully following the master's playbook is a bit of a bummer. Imitation isn't always flattering. --Andrew WrightStudio: Oscilloscope Pictures Release Date: 10/25/2011 Run time: 80 minutes Rating: RTucker and Dale are two best friends on vacation at their dilapidated mountain house, who are mistaken for murderous backwoods hillbillies by a group of obnoxious, preppy college kids. When one of the students gets separated from her friends, the boys try to lend a hand, but as the misunderstanding grows, so does the body count.Slapdash Scary Movie cycle aside, the slasher genre has proven fairly resistant to effective satire, mainly because the movies themselves already go so far over the top. (After Jason goes to space, where else can you possibly go?) Arriving amidst some monster film festival buzz, Tucker & Dale vs.! Evil scores big laughs by slyly inverting the formula, ca! sting th e standard backwoods maniacs as bewildered everymen surrounded by accident-prone teens. While it may basically be a one-joke movie, it sustains that joke for a remarkably long time. Kicking off with an effective Blair Witch jab, the story follows Tucker (Alan Tudyk) and Dale (Tyler Labine), two good-natured good ol' boys with aims of fixing up their rickety cabin in the woods into a vacation home. Before they've emptied their first six-pack, they find themselves besieged by a group of stereotypical college kids who start dying in increasingly bizarre ways around them. As the bodies stack like cordwood, the duo's obliviousness only grows. First-time director-cowriter Eli Craig clearly knows his subject material well, trotting out the skinny-dipping coeds and conveniently placed sharp implements with relish, particularly with a wood chipper that really should have received a supporting actor credit. Clever as the concept is, though, it wouldn't stretch nearly as far wit! hout the performances, most notably Labine as a Bigfootish idiot savant and 30 Rock's Katrina Bowden as a Final Girl fully aware of the situation's absurdity. Although the invention may sputter at times, Tucker & Dale provides enough amiable chuckles and ridiculous gore to satisfy even the snootiest genre fan. For the sequel, can we get them near a rocket? --Andrew WrightCaptain America leads the fight for freedom in the action-packed blockbuster starring Chris Evans as the ultimate weapon against evil! When a terrifying force threatens everyone across the globe, the world’s greatest soldier wages war on the evil HYDRA organization, led by the villainous Red Skull (Hugo Weaving, The Matrix). Critics and audiences alike salute Captain America: The First Avenger as “pure excitement, pure action, and pure fun!” â€" Bryan Erdy CBS-TVThe Marvel Comics superhero Captain America was born of World War II, so if you're going to do th! e origin story in a movie you'd better set it in the 1940s. Bu! t how, t hen, to reconcile that hero with the 21st-century mega-blockbuster The Avengers, a 2012 summit meeting of the Marvel giants, where Captain America joins Iron Man and the Incredible Hulk and other super pals? Stick around, and we'll get to that. In 1943, a sawed-off (but gung-ho) military reject named Steve Rogers is enlisted in a super-secret experiment masterminded by adorable scientist Stanley Tucci and skeptical military bigwig Tommy Lee Jones. Rogers emerges, taller and sporting greatly expanded pectoral muscles, along with a keen ability to bounce back from injury. In both sections Rogers is played by Chris Evans, whose sly humor makes him a good choice for the otherwise stalwart Cap. (Benjamin Button-esque effects create the shrinky Rogers, with Evans's head attached.) The film comes up with a viable explanation for the red-white-and-blue suit 'n' shield--Rogers is initially trotted out as a war bonds fundraiser, in costume--and a rousing first combat mis! sion for our hero, who finally gets fed up with being a poster boy. Director Joe Johnston (The Wolfman) makes a lot of pretty pictures along the way, although the war action goes generic for a while and the climax feels a little rushed. Kudos to Hugo Weaving, who makes his Nazi villain a grand adversary (with, if the ear doesn't lie, an imitation of Werner Herzog's accent). If most of the movie is enjoyable, the final 15 minutes or so reveals a curious weakness in the overall design: because Captain America needs to pop up in The Avengers, the resolution of the 1943 story line must include a bridge to the 21st century, which makes for some tortured (and unsatisfying) plot developments. Nevertheless: that shield is really cool. --Robert Horton

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Faux Suede Fur Trim Coat - CAMEL (S)

• Polyester.
• Dry clean.
• Imported.
• SKU 185383
• Style 503691010000
• Model is 5'10" and is wearing a US size S.

Casual-chic requires a balance between sharp-dressed style and everyday glamour. This bebe coat exudes all those things. Features faux fur and suede, self-tie at waist, and metal zipper detail at sleeves. Instantly adds a cool factor to even the simplest of outfits. Center back to hem: 33".

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Garfield Fat Cat Volume 1

• ISBN13: 9780345464552
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Witty, urbane, sassy, and downright delightful, here are the first three original books of pure Garfield collected in one packed volume. They tell the story of the feisty feline's birth, adoption, and growth into general wonderfulness---just in case you've forgotten --and remind us why we loved him like we do.

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Exit Wounds

• A tough but burned-out New York City policeman assigned to a remote Long Island precinct uncovers corruption among his fellow officers there.Running Time: 101 min. Format: DVD MOVIE Genre: MYSTERY/SUSPENSE Age: 085392106929 UPC: 085392106929 Manufacturer No: 21069

A tough but burned-out New York City policeman assigned to a remote Long Island precinct uncovers corruption among his fellow officers there.

DVD Features:
Documentary
Featurette
Filmographies
Music Video:by DMX
Theatrical Trailer

One can always count on Steven Seagal to act as the repository of yesterday's action-film clichés, and Exit Wounds is yet another case in point. Seagal plays Detroit cop Orin Boyd, a lone wolf lawman who gets in the middle of his precinct's losing battle against police corruption. Taking on a powerful but crooked cop named Montin! i (David Vadim)--who is busy making deals with a rich gangster (DMX)--Boyd soon sends fists and feet flying while Tom Arnold provides the comic relief. Director Andrzej Bartkowiak surely had less fun guiding Seagal through slow-motion fight sequences than he did Jet Li in Romeo Must Die, but as compensation he gets to work with the mesmerizing DMX, who looks as though he has leading-man possibilities. Plenty of gratuitous gore, awful cop banter, and miles of cleavage courtesy of Jill Hennessy, who plays Boyd's tough-as-nails boss. --Tom Keogh

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