Donkey Punch [Unrated]

• Three hot girls, four guys, and one mega-swanky yacht collide for a serious night of drugs and sexual deviancy. One debaucherous act goes too far though, turning this teen joy ride into a weekend of bloody bedlam. Format: DVD MOVIE Genre: MYSTERY/SUSPENSE Rating: NR MA Age: 876964001816 UPC: 876964001816 Manufacturer No: 10181

After meeting at a nightclub in a Mediterranean resort, seven young adults overindulge in champagne and ecstasy. Completely letting go of their inhibitions, they capture their wild partying aboard a luxury yacht on video camera. But when their reckless sexual endeavors are taken too far, one of them dies in a freak accident. The remaining members of the group argue about what to do, which leads to a ruthless fight for survival.

Dreamgirls (Widescreen Edition)

• Actors: Jamie Foxx, Eddie Murphy, Jennifer Hudson, Beyoncé Knowles.
• Format: AC-3, Color, Dolby, Dubbed, DVD, Subtitled, Widescreen, NTSC.
• Language: English (Dolby Digital 2.0 Surround), English (Dolby Digital 5.1), French (Dolby Digital 5.1).
• Region: Region 1 (U.S. and Canada only).
• DVD Release Date: May 1, 2007. Run Time: 130 minutes.

Director Bill Condon brings Tom Eyen's Tony award-winning Broadway musical to the big screen in a tale of dreams, stardom, and the high cost of success in the cutthroat recording industry. The time is the 1960s, and singers Effie (Jennifer Hudson), Lorrell (Anika Noni Rose), and Deena (Beyoncé Knowles) are about to find out just what it's like to have their wildest dreams come true. Discovered at a local talent show by ambitious manager Curtis Taylor Jr. (Jamie Foxx), the trio known as "the Dreamettes" is soon offered the once-! in-a-lifetime opportunity of opening for popular singer James "Thunder" Early (Eddie Murphy). Subsequently molded into an unstoppable hit machine by Taylor and propelled into the spotlight as "the Dreams," the girls quickly find their bid for the big time taking priority over personal friendship as Taylor edges out the ultra-talented Effie so that the more beautiful Deena can become the face of the group. Now, as the crossover act continues to dominate the airwaves, the small-town girls with big-city dreams slowly begin to realize that the true cost of fame may be higher than any of them ever anticipated.The spirit of Motown runs through the long-awaited film adaption of the Broadway musical Dreamgirls, which centers around a young female singing trio who burst upon the music scene in the '60s, complete with bouffant hairdos, glitzy gowns, and a soul sound new to the white-bread American music charts. Sound familiar? You aren't the first one to draw comparisons to ! the meteoric rise of the Supremes, and despite any protests to! the con trary, this is most definitely a thinly veiled reinterpretation of that success story. The Dreamettes--statuesque Deena (Beyonce Knowles), daffy Lorell (Anika Noni Rose) and brassy Effie (Jennifer Hudson)--are a girl group making the talent-show rounds when they're discovered by car salesman and aspiring music manager Curtis Taylor Jr. (Jamie Foxx). Sensing greatness (as well as a new marketing opportunity) Curtis signs the Dreamettes as backup singers for R&B star James "Thunder" Early (Eddie Murphy). But when Early's mercurial ways and singing style don't mesh with primarily white audiences, Curtis moves the newly-renamed Dreams to center stage--with Deena as lead singer in place of Effie. And that's not the only arena in which Effie is replaced, as Curtis abandons their love affair for a relationship with star-in-the-making Deena.

Besides the Supremes comparison, one can't talk about Dreamgirls now without revisiting its notorious Oscar snub; though it receive! d eight nominations, the most for any film from 2006, it was shut out of the Best Picture and Director races entirely. Was the oversight justified? While Dreamgirls is certainly a handsomely mounted, lovingly executed and often vibrant film adaptation, it inspires more respect than passion, only getting under your skin during the musical numbers, which become more sporadic as the film goes on. Writer-director Bill Condon is definitely focused on recreating the Motown milieu (down to uncanny photographs of Knowles in full Diana Ross mode), he often forgets to flesh out his characters, who even on the Broadway stage were underwritten and relied on powerhouse performances to sell them to audiences. (Stage fans will also note that numerous songs are either truncated or dropped entirely from the film.) Condon has assembled a game cast, as Knowles does a canny riff on the essence of Diana Ross' glamour (as opposed to an all-out impersonation) and Rose makes a peripheral ! character surprisingly vibrant; only Foxx, who never gets to p! our on t he charisma, is miscast. Still, there are two things even the most cranky viewers will warm to in Dreamgirls: the performances of veteran Eddie Murphy and newcomer Jennifer Hudson. Murphy is all sly charm and dazzling energy as the devilish Early, who's part James Brown, part Little Richard, and all showman. And Hudson, an American Idol contestant who didn't even make the top three, makes an impressive debut as the larger-than-life Effie, whose voice matches her passions and stubbornness. Though she sometimes may seem too young for the role, Hudson nails the movie's signature song, "And I Am Telling You I'm Not Going," with a breathtaking power that must be seen and heard to believe. And for those five minutes, if not more, you will be in Dreamgirls' thrall. --Mark Englehart

Half Nelson

• DVD MOVIE

Dan Dunne (Ryan Gosling) is a young inner-city junior high school teacher whose ideals wither and die in the face of reality. Day after day in his shabby Brooklyn classroom, he somehow finds the energy to inspire his 13 and 14-year-olds to examine everything from civil rights to the Civil War with a new enthusiasm. Rejecting the standard curriculum in favor of an edgier approach, Dan teaches his students how change works ' on both a historical and personal scale ' and how to think for themselves.

Though Dan is brilliant, dynamic, and in control in the classroom, he spends his time outside school on the edge of consciousness. His disappointments and disillusionment have led to a serious drug habit. He juggles his hangovers and his homework, keeping his lives separated, until one of his troubled students, Drey (Shareeka Epps), catches him getting high after school.

From this ! awkward beginning, Dan and Drey stumble into an unexpected friendship. Despite the differences in their ages and situations, they are both at an important intersection. Depending on which way they turn ' and which choices they make ' their lives will change.

Sometimes people are attracted to each other because of their differences. When there's a nebulous attraction between a teacher and a young teenage child--as in the superb Half Nelson--the relationship has all the makings of confused disaster. Though there are a few uncomfortable moments when it's not obvious whether Dan (Ryan Gosling) and Drey! (Shareeka Epps) might cross the line, the attraction between ! the pair is culled less from sexual tension than desperation. Dan is an idealistic history teacher in an inner-city school. Drey is one of his brightest students. For both, drugs represent something that may help them escape their worlds. He takes drugs to dull his dissatisfaction with himself. She views drugs as a possible way to better her life, even though she knows her brother's foray into that trade landed him in jail. Bleakly filmed and well told, Half Nelson soars because of the immaculate acting by Gosling and Epps. With his impish smile, Gosling provides a character that is at once disarming, alluring, and pitiful. As the young girl who's already seen too much hardship in her life, Epps plays her part with just the right amount of hardened raw emotion. While the ambiguous ending may not please fans weaned on happy Hollywood finales, it's a fitting and believable close to a thought-provoking film. --Jae-Ha Kim

!

Stills from Half Nelson (click for larger image)

Beyond Half Nelson at Amazon.com

The Films of Ryan Gosling

More Oscar Nominated Roles at the Amazon.com Oscar Store

The Soundtrack

DVD WITH ORGINAL CASE AND ARTWORK, JUST LIKE NEW, SHIPS USPS FIRST CLASS W/TRACKING!

The Marx Brothers Collection (A Night at The Opera/A Day at The Races/A Night in Casablanca/Room Service/At the Circus/Go West/The Big Store)

• Condition: New
• Format: DVD
• Box set; Black & White; DVD; NTSC

Studio: Uni Dist Corp. (summit) Release Date: 01/12/2010 Run time: 110 minutes Rating: RThe remarkable documentary Brothers at War begins with a simple premise: Jake Rademacher wants to understand the experience of his younger brothers Isaac and Joe, both serving in the American military in Iraq. What unfolds proves amazingly complex, fusing a troubled family history (another Rademacher brother died at home), wrenching interviews with wives and girlfriends left behind, and a startlingly unfiltered portrait of on-the-ground soldiers in the middle of a combat zone. Because the filmmaker is already part of these people's lives, he's able to capture a kind of emotional nakedness you don't often see; when Joe's girlfriend talks about how Joe's military service has changed him, a window opens into her life that's! almost uncomfortably intimate. Because of his relationship to one of their comrades, the soldiers in Iraq accept Jake in a completely different way than they'd respond to a typical journalist. They don't present a manicured image; Jake films them talking about why they're there, how they treat girls, shooting people (one soldier describes nearly shooting a child who was carrying a toy gun), and watching The O.C. Driven by sibling rivalry, Jake even puts himself in harm's way by going out on combat missions. Brothers at War doesn't have an ideology. Soldiers in the field defend each other out of personal solidarity, not abstract ideas; the same impulse drives this movie forward. It's unlike any other war documentary and can't be recommended strongly enough. --Bret FetzerINSIDE THE WAR MACHINE

As a boy raised in Hamburg, Germany, after World War I, Werner Gramckow cared about only two things: soccer and going to America. His brother, Hans, mov! ed there ten years before the start of World War II and became! an inte lligence officer in the US Army. Later, when Werner was drafted into the Wehrmacht, the brothers ended up fighting on opposite sides.

As a reluctant soldier in Hitler’s army, Werner endured both the horrors and the absurdity of war, including:

• The insidious Nazi takeover of Germany through propaganda, political intrigue, and violence.

• The Russian front, where two million people were butchered; Werner was one of very few survivors.

• Service in a cavalry that chased battles around Europe on bicycles.

Brothers at War is an extraordinary survival tale in the tradition of the greatest war stories, written by a soldier who hoped he’d never have to fire a weaponâ€"and wished only to get out of the country alive.

About the Author

After surviving World War II, Werner Gramckow moved to the United States and became a leader in America’s agriculture industry. He is the founder of Southland Sod,! which developed the unique Marathon® brand sod (www.sod.com).


INSIDE THE WAR MACHINE

As a boy raised in Hamburg, Germany, after World War I, Werner Gramckow cared about only two things: soccer and going to America. His brother, Hans, moved there ten years before the start of World War II and became an intelligence officer in the US Army. Later, when Werner was drafted into the Wehrmacht, the brothers ended up fighting on opposite sides.

As a reluctant soldier in Hitler’s army, Werner endured both the horrors and the absurdity of war, including:

• The insidious Nazi takeover of Germany through propaganda, political intrigue, and violence.

• The Russian front, where two million people were butchered; Werner was one of very few survivors.

• Service in a cavalry that chased battles around Europe on bicycles.

Brothers at War is an extraordinary survival tale in the tradition of the greatest war stories, writte! n by a soldier who hoped he’d never have to fire a weaponâ€"! and wish ed only to get out of the country alive.

About the Author

After surviving World War II, Werner Gramckow moved to the United States and became a leader in America’s agriculture industry. He is the founder of Southland Sod, which developed the unique Marathon® brand sod (www.sod.com).


Captain Sam Cahill (Maguire) is embarking on his fourth tour of duty, leaving behind his beloved wife (Portman) and two daughters. When Sam’s Blackhawk helicopter is shot down in the mountains of Afghanistan, the worst is presumed, leaving an enormous void in the family. Despite a dark history, Sam’s charismatic younger brother Tommy (Gyllenhaal) steps in to fill the family void.Screenwriter David Benioff (The 25th Hour) didn't have to do much to relocate Brothers from Denmark to America. The story remains the same: Captain Sam Cahill (Tobey Maguire) loves his family, but he's equally devoted to his career. Just as his ne'er-do-well brother, Tomm! y (Jake Gyllenhaal), exits prison, where he did time for robbery, the Marines deploy Sam to Afghanistan. Tommy starts looking in on his wary sister-in-law, Grace (Natalie Portman), but then Sam's helicopter crashes in the mountains, and the military informs Grace that her husband has died. Unbeknownst to the Cahill clan, the Taliban has taken Sam hostage and tortures him to elicit information. Sam resists, but his colleague caves, leading to an unthinkable act. Back in New Mexico, Grace and Tommy grow closer, stopping just short of a full-blown affair (in Susanne Bier's original, they take the plunge). Even Tommy's disapproving Vietnam vet father, Hank (Sam Shepard), sees his son in a new light after Tommy renovates Grace's kitchen. But when Sam is rescued by his company, he returns a broken man and is convinced that his wife has fallen in love with his brother. Even his daughters are afraid of him (Bailee Madison impresses as the eldest). As in Bier's film, Jim Sheridan (In America) elevates redemption and forgiveness over t! ragedy a nd loss, and his well-meaning remake gets off to a solid start, but it loses steam by the end. Brothers offers a compelling scenario, but the telling is too overstated to capture the full heartbreak of the situation. --Kathleen C. Fennessy

Stills from Brothers (Click for larger image)

	!

BROTHERS AT WAR is Jerold S. Auerbach's probing and poignant exploration of the tragedy of the Altalena, the doomed ship whose arrival in Israel ignited Jewish fratricidal conflict only weeks after its declaration of statehood in 1948. The destruction of the Altalena, with sixteen of its fighters killed by Israeli soldiers in a bitter two-day battle, threatened the new nation with civil war. This is the first history of the Altalena by a historian and the first to locate it within the context of ancient Jewish and contemporary Israeli history. The Altalena remains embedded in Israeli memory, Auerbach suggests, still framing unresolved issues of political legitimacy in the Jewish state. Identified as "America's foremost intellectual exponent of right-w! ing Zionism," Jerold Auerbach is the author of nine books incl! uding HE BRON JEWS: MEMORY AND CONFLICT IN THE LAND OF ISRAEL (2009), a history of the world's oldest continuing Jewish community. He is Professor Emeritus of History at Wellesley College.This set includes seven of only thirteen Marx Brothers films ever made! Collection includes: "A Night at the Opera" (1935) - The Marx Brothers turn Mrs. Claypool's opera into chaos in their efforts to help two young hopefuls get a break. It contains the famous scene where Groucho, Chico and Harpo cram a ship's stateroom with wall-to-wall people, gags, one-liners, musical riffs and two hard-boiled eggs. "A Day at the Races" (1937) - Groucho stars as Hugo Z. Hackenbush, a horse veterinarian dispensing horse pills and quips with equal glee. Chico selling racing tips, Harpo destroying a piano to turn it into a harp and favorite foil actress Margaret Dumont make this thoroughbred comedy wall-to-wall hilarity. "A Night in Casablanca" (1946) - This parody of the Bogart/Bergman 1943 classic features the Naz! is vs. the "nutsies" as the Marx Brothers foil Axis criminals when they find stolen jewels and paintings Nazis have hidden in a hotel. "Room Service"/"At the Circus" - These two films are combined on one disc to provide double doses of laughter. In "Room Service" (1938), Lucille Ball and Ann Miller provide comic co-star support while the Marx Brothers play producers trying to keep their show above water and a hotel room over their head. In "At the Circus" (1939) Groucho stars as professional shyster lawyer J. Cheever Loophole in the middle of big-top bedlam as the boys try to save the circus and look to Margaret Dumont for the money to do so. Groucho sings one of his famous songs, "Lydia the Tattooed Lady." "Go West"/"The Big Store" - Another Marx Brothers twin bill makes this a hilarious comedy "two-fer." In the first, the Marxmen "Go West" (1940) to the land of outlaws and Indians where the fun never stops and where they outwit a land grabber. In "The Big Store" (1941), G! roucho plays Attorney Wolf J. Flywheel who with sidekick Wacky! (Harpo) and bodyguard Ravelli (Chico) are investigating the shady dealings of a crooked department store owner. Bonus extras include commentary by Leonard Maltin.When it comes to long-awaited treats like The Marx Brothers Collection, you can never get too much of a good thing. These seven comedies can't compare to the sheer lunacy of the five classics (The Cocoanuts, Animal Crackers, Monkey Business, Horse Feathers, and Duck Soup) that the Marx Bros. made for Paramount between 1929 and 1933 (available in The Marx Brothers Silver Screen Collection), but when uber-producer Irving Thalberg signed Groucho, Harpo, and Chico to an MGM contract in 1935 (by which time sibling costar Zeppo had become the team's off-screen manager), he knew just how to cure their box-office blues. As a result, A Night at the Opera and A Day at the Races were critical and commercial hits, lavishly produced according to the "Tiffany" studio's golde! n-age formula of glamorous set pieces and musical numbers combined with sensible plots that smoothly integrated snappy, well-written Marxian antics. Opera is the jewel of this set, with timeless scenes (the Stateroom, the Groucho-Chico contract negotiation, etc.) that rank among the greatest bits of silver-screen comedy... not to mention Groucho's flirtatious insults at Margaret Dumont's upper-crust expense.

A Day at the Races deserves near-equal acclaim ("Get-a your tootsie-fruitsie ice cream!"), but Thalberg's death in 1937 dealt a devastating blow, and the Marxes suffered from studio indifference, resulting in a succession of comedies that are timelessly enjoyable even as they fall prey to diminishing returns. By the time they made Go West and The Big Store, the Marxes were out of their element, and a few of the musical interludes indulge racial stereotypes that were common in the studio era. Despite this, these movies remain fresh and fran! tic, and Warner Bros. (holder of the RKO and MGM libraries) ha! s done a marvelous job of packaging The Marx Brothers Collection to nostalgically approximate the filmgoing experience of the 1930s and '40s, with vintage shorts (Our Gang, Robert Benchley comedies, MGM cartoons, etc.) from the time of each feature's original release. Archival materials are slim but worthwhile (especially Groucho's 1961 interview with TV talk-show host Hy Gardner), and while Glenn Mitchell's commentary on Races is sparse and superficial, Leonard Maltin brings his usual superfan's enthusiasm and encyclopedic knowledge to bear on a full-length Opera commentary track. The new documentaries are somewhat redundant, but essential viewing for Marx Bros. neophytes. With all seven films presented in pristine condition, this is definitely a Marx Brothers Collection worth having. --Jeff Shannon

Festival Express

• Festival Express is a rousing record of a little-known, but monumental, moment in rock n' roll history, starring such music legends as Janis Joplin, The Band, and the Grateful Dead. Set in 1970, Festival Express was a multi-band, multi-day extravaganza that captured the spirit and imagination of a generation and a nation. What made it unique was that it was portable; for five days, the bands and p

Festival Express is a rousing record of a little-known, but monumental, moment in rock n' roll history, starring such music legends as Janis Joplin, The Band, and the Grateful Dead. Set in 1970, Festival Express was a multi-band, multi-day extravaganza that captured the spirit and imagination of a generation and a nation. What made it unique was that it was portable; for five days, the bands and performers lived, slept, rehearsed and did countless unmentionable things aboard a customized train that ! traveled from Toronto, to Calgary, to Winnipeg, with each stop culminating in a mega-concert. The entire experience, both off-stage and on, was filmed but the extensive footage remained locked away -- until now. A momentous achievement in rock film archeology, Festival Express combines this long-lost material with contemporary interviews nearly 35 years after it was first filmed.

DVD Features:
DVD ROM Features
Theatrical Trailer

The vintage concert footage alone makes Festival Express a memorable and worthwhile endeavor, offering scintillating performances by Janis Joplin, the Band (their rollicking version of "Slippin' and Slidin'" is particularly mind-blowing), the Grateful Dead, Buddy Guy, and others (remember Mashmakhan?). In 1970, during the heyday of the rock festival, promoter Ken Walker decided to organize a traveling musical revue, bringing the mountain to Mohammed, as it were. In five days' time, the festival played in t! hree Canadian cities with the entire conglomeration traveling,! playing , and getting smashed together the whole way. Nearly as rewarding as the live performances are the candid scenes of the train ride itself, an endless jam session and party during which musicians of all shapes and sizes let their hair down--musically and otherwise. The contemporary interviews with Walker and some of the surviving musicians aren't particularly noteworthy, except as a way to prove that it all actually happened. Walker comes off as a hero in the film: he treated the musicians like royalty and insisted that the train roll on even though he was losing his shirt. (His financial failure is a large reason why this material stayed in the vaults for so long.) Perhaps the most remarkable scene is an off-the-cuff, LSD-fueled train jam featuring Joplin, the Band's Rick Danko, and the Dead's Jerry Garcia playing the old chestnut "Ain't No More Cane." Danko is so obliterated that even Janis has to ask him if he's OK--when Janis is worried about your state of mind, yo! u must be pretty messed up. --Marc Greilsamer

Chasing Liberty

• Condition: New
• Format: DVD
• Closed-captioned; Color; DVD; Widescreen; NTSC

While on a diplomatic trip to Europe with her parents, first daughter Anna (Mandy Moore) escapes the secret service and meets mysterious stranger Ben Calder, who also happens to be an undercover agent.Even when she's playing a girl with a head full of air in a plot full of holes, Mandy Moore manages to make Chasing Liberty wholesomely appealing. It's too bad that "wholesome," in this case, means frolicking around Prague, Venice, and Berlin as the U.S. President's daughter, eluding Secret Service agents, defying her second-term President father (Mark Harmon, totally miscast), and trusting complete strangers in a world where potential terrorism seems like nothing more than a pesky distraction. In other words, first daughter Anna Foster (Moore) is a complete idiot, oblivious to danger in a fluffy rom! antic fantasy that's part Roman Holiday (the good part) and part bubble-gum star vehicle. Don't blame Mandy for daring to shed her good-girl image; even her innocent skinnydipping scene was handled by a "butt double," and she's irresistible as she falls for the mutually smitten Secret Service agent (promising newcomer Matthew Goode) assigned to keep her out of harm's way. Another budding romance involving two bickering agents (Annabella Sciorra, Jeremy Piven) is perfunctory at best, but if you're looking for a picturesque, sweet-natured tour of Europe with a pair of likeable lovebirds, Chasing Liberty makes for a pleasantly brief vacation. --Jeff Shannon

Homecoming (Tillerman Series)

• ISBN13: 9780689863615
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

"IT'S STILL TRUE."

That's the first thing James Tillerman says to his sister Dicey every morning. It's still true that their mother has abandoned the four Tillerman children somewhere in the middle of Connecticut. It's still true they have to find their way, somehow, to Great-aunt Cilla's house in Bridgeport, which may be their only hope of staying together as a family.

But when they get to Bridgeport, they learn that Great-aunt Cilla has died, and the home they find with her daughter, Eunice, isn't the permanent haven they've been searching for. So their journey continues to its unexpected conclusion -- and some surprising discoveries about their history, and their future.

Club Dread (Nancy Drew and the Hardy Boys Super Mystery #3)

• ISBN13: 9781416978718
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Broken Lizard is back?and this time the crazy comedy troupe that brought you Super Troopers is taking you on a trip so outrageously fun?it?s murder. Welcome to Coconut Pete?s Pleasure Island, a tropical, tequila-soaked vacation resort where high-spirited fun soon takes a deadly turn?leaving the island?s hilariously inept staff to battle a machete-wielding maniac as they fight to survive another day in paradise. Filled with sidesplitting humor, scary slasher scenes, and plenty of bikini-clad babes, Broken Lizard?s Club Dread is a comedy to die for!Looking for plenty of sex, violence, and lowbrow comedy? If you are, you could do a lot worse (or is it a lot better?) than to visit Club Dread, a bold! ly wretched excuse for broad comedy perpetrated by the Broken Lizard troupe--the same guys who brought their potty-mouthed brand of lunacy to bear on 2002's Super Troopers. That alone should serve as ample warning or invitation, depending on your tolerance for way-too-casual sketch comedy, stitched together with an emphasis on big, gross laughs and enough female frontal nudity to give Girls Gone Wild a run for its money. It all takes place on Coconut Pete's Pleasure Island, where Pete (Bill Paxton, slumming it with infectious abandon) holds court while scantily clad vacationers play crazy games (life-size Pac-Man, anyone?) and provide easy prey for a slasher on the loose. Ah, but there's the rub: Is this schizoid movie a comedy or a horror flick? It's both... and neither... and the bloodletting is surprisingly extreme amidst all the poop and fart jokes. Of course, that won't stop Club Dread from finding its audience. We know you're out there…and you k! now who you are. --Jeff ShannonBroken Lizard is back…! and this time the crazy comedy troupe that brought you Super Troopers is taking you on a trip so outrageously fun…it’s murder. Welcome to Coconut Pete’s Pleasure Island, a tropical, tequila-soaked vacation resort where high-spiritedLooking for plenty of sex, violence, and lowbrow comedy? If you are, you could do a lot worse (or is it a lot better?) than to visit Club Dread, a boldly wretched excuse for broad comedy perpetrated by the Broken Lizard troupe--the same guys who brought their potty-mouthed brand of lunacy to bear on 2002's Super Troopers. That alone should serve as ample warning or invitation, depending on your tolerance for way-too-casual sketch comedy, stitched together with an emphasis on big, gross laughs and enough female frontal nudity to give Girls Gone Wild a run for its money. It all takes place on Coconut Pete's Pleasure Island, where Pete (Bill Paxton, slumming it with infectious abandon) holds court while scantily clad vacationers pl! ay crazy games (life-size Pac-Man, anyone?) and provide easy prey for a slasher on the loose. Ah, but there's the rub: Is this schizoid movie a comedy or a horror flick? It's both... and neither... and the bloodletting is surprisingly extreme amidst all the poop and fart jokes. Of course, that won't stop Club Dread from finding its audience. We know you're out there…and you know who you are. --Jeff ShannonSometimes, being an ATAC agent doesn’t seem so bad. When Frank and Joe are sent to a tropical island resort in paradise to investigate a string of thefts, they’re not complaining. But once they get there, something seems off about the mission. . . . Soon the brothers feel like missing jewelry is the least of their concerns. Meanwhile, Nancy Drew, Bess, and George are staying at the hotel as guests. They, too, sense something off about this particular paradise, and when they run into Frank and Joe, it seems that no oneâ€"not even an old friendâ€"is above! suspicion.