Monday, November 21, 2011

Cradle 2 the Grave (Widescreen Edition)

  • When his daughter is kidnapped and held in exchange for diamonds, the leader of a crew of highly skilled urban thieves (DMX) forges an unlikely alliance with a Taiwanese Intelligence officer (Jet Li) to rescue her. Their race against the clock to find the precious stones ultimately unravels a plot to distribute a deadly new weapon of war.Running Time: 101 min. Format: DVD MOVIE Genre: AC
When his daughter is kidnapped and held in exchange for diamonds, the leader of a crew of highly skilled urban thieves (DMX) forges an unlikely alliance with a Taiwanese Intelligence officer (Jet Li) to rescue her. Their race against the clock to find the precious stones ultimately unravels a plot to distribute a deadly new weapon of war.

DVD Features:
Documentaries:"Ultimate Fighting Champions": Profiles on the martial artists and how they were incorporated in the movie "Choreography of ! the Camera": includes multi-angle car chases
Featurette:"The Descender Rig": Features camera invention that was made for the movie
Music Video:DMX's "X Gon' Give It to Ya"
Other:2 Hidden Bonuses: "Time Lapse Montage" Behind-the-scenes footage and "Rear Projection" featurette on the subway sequence
Theatrical Trailer

The intriguing cross-pollination of rap and kung-fu continues with Cradle 2 the Grave, co-starring high-profile rapper DMX and Hong Kong superstar Jet Li. Master thief Fait (DMX) hits a diamond exhange but comes away with a bag of black gems of mysterious origin. When a crime kingpin steals the gems from Fait, an international arms dealer kidnaps Fait's beloved daughter--and Fait can only get her back with the help of Su (Li), a Taiwanese intelligence agent tracking the gems himself. A summary of the plot doesn't do Cradle 2 the Grave justice; while the basic story elements suggest a dozen gene! ric action flicks, the cast (including Anthony Anderson, Gabr! ielle Un ion, and Kelly Hu) has genuine charisma and the movie layers action on top of action to strong effect. All in all, a much more engaging thrill ride than you'd expect. --Bret Fetzer

Carlito's Way [Blu-ray]

  • Condition: New
  • Format: Blu-ray
  • AC-3; Color; Dolby; Dubbed; Subtitled; Widescreen
Academy Award winner Al Pacino stars as an ex-druglord fighting to escape his violent, treacherous past in this action-filled tour de force from acclaimed director Brian De Palma. Sprung from prison on a legal technicality by his cocaine-addled attorney (Sean Penn), former drug kingpin Carlito Brigante (Pacino) stuns the local underworld by vowing to go straight. Dedicated to making a change, he reunites with his former girlfriend (Penelope Ann Miller) and rekindles their romance. But his dream of a legitimate life is undermined at every turn by ruthless former associates and even deadlier young thugs like Benny Blanco (John Leguizamo), who are out to make a name for themselves. Despite good intentions, Carlito's misguided loyalties and outmoded code of "honor" plunge him into a savage life-or! -death battle against the relentless forces that refuse to let him go in this powerful crime saga. Starring: Al Pacino, Sean Penn, Penelope Ann Miller, Luis Guzman, Viggo Mortensen, John Leguizamo, James Rebhorn, Joseph Siravo, Ingrid Rogers, Adrian Pasdar Directed by: Brian De PalmaAl Pacino cuts a noble figure in this very enjoyable drama by director Brian De Palma (Scarface), based on a pair of books by Edwin Torres. Pacino plays a Puerto Rican ex-con trying hard to go straight, but his loyalty to his lowlife attorney (a virtually unrecognizable Sean Penn) and enemies on the street make that choice difficult. Penelope Ann Miller plays, somewhat unlikely, a stripper who has a romance with Pacino's character. The film finds De Palma tempering his more outlandish moves (think of Body Double or Snake Eyes) just as he did with the popular Untouchables and Mission: Impossible. But while Carlito's Way was not commercially successful an! d never rises to the level of greatness, it is a genuinely com! pelling movie graced with a fine performance by Pacino and a surprising one from Penn. --Tom KeoghFrom the director of Scarface comes the critically acclaimed crime thriller Carlito’s Way. Oscar® winner Al Pacino gives an electrifying performance as former drug kingpin Carlito Brigante, who is sprung from prison by his high-powered attorney (Academy Award® winner Sean Penn). He stuns the New York underworld by vowing to go straight from a history of violence, but his plans are undermined by misguided loyalties and an outmoded code of honor. In a life-or-death battle, Carlito takes on the relentless forces that refuse to let him go. Co-starring John Leguizamo and Luis Guzmán, Carlito’s Way is a powerful, action-packed ride all the way to its explosive conclusion.Al Pacino cuts a noble figure in this very enjoyable drama by director Brian De Palma (Scarface), based on a pair of books by Edwin Torres. Pacino plays a Puerto Rican ex-con trying hard to go straight, b! ut his loyalty to his lowlife attorney (a virtually unrecognizable Sean Penn) and enemies on the street make that choice difficult. Penelope Ann Miller plays, somewhat unlikely, a stripper who has a romance with Pacino's character. The film finds De Palma tempering his more outlandish moves (think of Body Double or Snake Eyes) just as he did with the popular Untouchables and Mission: Impossible. But while Carlito's Way was not commercially successful and never rises to the level of greatness, it is a genuinely compelling movie graced with a fine performance by Pacino and a surprising one from Penn. --Tom Keogh

Edward Scissorhands [DVD] Full Screen 10th Anniversary Edition

  • Full Screen Anniversary Edition (2005)
  • Audio Commentary by Tim Burton & Danny Elfman
  • Featurette & Concept Art
  • Languages: English, Spanish & French. Subtitles: English & Spanish
  • Original Theatrical Trailer & TV Spots
Once upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp! ), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fanta! sy, but Edward Scissorhands is more tender and personal! than th e others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fanta! stical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly! against the outsider when he starts to feel his own desires, ! particul arly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistib! le charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her,! where she hopes to help him with his pasty complexion and tho! se nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for t! he monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be p! erched above a pastel-colored suburb inhabited by breadwinning! husband s and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to fil! m, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follo! ws a young man named Edward (Johnny Depp), who was created by ! an inven tor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerEdward Scissorhands (Full Screen Anniversary Edition), 2005 release by 20th Century Fox Home Entertainment.

Sunday, November 20, 2011

G.I. Joe: The Rise of Cobra Two-Disc Edition (Feature Digital Copy) [Blu-ray - 2009]

  • Blu-ray + Digital Copy
  • Original US Version, Region 1
Based on Hasbro’s immensely popular action figures, G.I. Joe is the ultimate elite fighting force, engaged in an extraordinary action-adventure matchup of good versus evil! In G.I. Joe: The Rise of Cobra, the G.I. Joe team, armed with the coolest hi-tech gadgets and weapons, travels the world from the Egyptian desert to the polar ice caps in a high stakes pursuit of Cobra, an evil international organization threatening to use a technology that could bring the world to its knees.The Rise of Cobra is not your grandfather's G.I. Joe. It's more like C.G.I. Joe with explosive special-effects action sequences that provide the film with a surplus of "Boom Boom Pow" (to quote the Black Eyed Peas song that drives the end credits). This blast from the summer past is very much like the metal-munching nano-mite missil! es a (literally) mad Doctor (Joseph Gordon-Levitt cashing in some of his indie cred) and McCullen, a Scottish weapons dealer (Christopher Eccleston), threaten to unleash upon the world. It never stops. Ever. The original G.I. Joe action figure was an all-American hero. These Joes are--all together now--"the best of the best," an elite multi-national squad. Two soldiers, Duke (a buff Channing Tatum), an "on the ground, in the fight" kind of guy, and Ripcord (Marlon Wayans), his wisecracking best friend, are rescued by the Joes after they are ambushed while transporting the missiles. These are no ordinary Joes. Snake-Eyes (Ray Park) is a silent ninja, Stella (Rachel Nichols) a bodacious brainiac, Heavy Duty (Adewale Akinnuoye-Agbaje) the imposing weapons specialist, and Breaker (Said Taghamaoui) the techie. They are led by gruff Gen. Hawk (Dennis Quaid), who barks out lines like, "When all else fails, we don't," with polish. Duke and Ripcord are recruited to join the classifi! ed unit after Duke discovers that Ana (Sienna Miller), his for! mer fian cée, is in cahoots with McCullen and now sports the sinister moniker the Baroness, not to mention killer cleavage-enhancing latex outfits. This being the first in a budding franchise, there is much backstory to cover. Flashbacks date back to 1641! But the order of the day is underground military command centers, underwater evil lairs, gleaming high-tech weaponry, breakneck chases, and cool gadgets, such as a speed-accelerating hydraulic suit. It's enough to make you want to dust off your original Hasbro action figures or, the studio no doubt hopes, buy the new ones. --Donald Liebenson

Stills from G.I. Joe: The Rise of Cobra (Click for larger image)










Based on Hasbro’s immensely popular action figures, G.I. Joe is the ultimate elite fighting force, engaged in an extraordinary action-adventure matchup of good versus evil! In G.I. Joe: The Rise of Cobra, the G.I. Joe team, armed with the coolest hi-tech gadgets and weapons, travels the world from the Egyptian desert to the polar ice caps in a high stakes pursuit of Cobra, an evil international organization threatening to use a technology that could bring the world to its knees.The Rise of Cobra is not your grandfather's G.I. Joe. It's more like C.G.I. Joe with explosive special-effects action sequences that provide the film with a surplus of "Boom Boom Pow" (to quote the Black Eyed Peas song that drives the end credits). This blast from the summer past is very much like the metal-munching nano-mite missiles a (literally) mad Doctor (Joseph Gordon-Levitt cashing in some of hi! s indie cred) and McCullen, a Scottish weapons dealer (Christopher Eccleston), threaten to unleash upon the world. It never stops. Ever. The original G.I. Joe action figure was an all-American hero. These Joes are--all together now--"the best of the best," an elite multi-national squad. Two soldiers, Duke (a buff Channing Tatum), an "on the ground, in the fight" kind of guy, and Ripcord (Marlon Wayans), his wisecracking best friend, are rescued by the Joes after they are ambushed while transporting the missiles. These are no ordinary Joes. Snake-Eyes (Ray Park) is a silent ninja, Stella (Rachel Nichols) a bodacious brainiac, Heavy Duty (Adewale Akinnuoye-Agbaje) the imposing weapons specialist, and Breaker (Said Taghamaoui) the techie. They are led by gruff Gen. Hawk (Dennis Quaid), who barks out lines like, "When all else fails, we don't," with polish. Duke and Ripcord are recruited to join the classified unit after Duke discovers that Ana (Sienna Miller), his former fianc! ée, is in cahoots with McCullen and now sports the sinister m! oniker t he Baroness, not to mention killer cleavage-enhancing latex outfits. This being the first in a budding franchise, there is much backstory to cover. Flashbacks date back to 1641! But the order of the day is underground military command centers, underwater evil lairs, gleaming high-tech weaponry, breakneck chases, and cool gadgets, such as a speed-accelerating hydraulic suit. It's enough to make you want to dust off your original Hasbro action figures or, the studio no doubt hopes, buy the new ones. --Donald Liebenson

Stills from G.I. Joe: The Rise of Cobra (Click for larger image)


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Girl on the Bridge

Hunger: A Gone Novel

  • ISBN13: 9780061449086
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

In the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. Long ago the districts waged war on the Capitol and were defeated. As part of the surrender terms, each district agreed to send one boy and one girl to appear in an annual televised event called, "The Hunger Games," a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when she is forced to represent her district in the Games. The terrain, rules, and level of audience participation may change but one thing is constant: kill or be killed.

Against all odds,! Katniss Everdeen has won the annual Hunger Games with fellow district tribute Peeta Mellark. But it was a victory won by defiance of the Capitol and their harsh rules. Katniss and Peeta should be happy. After all, they have just won for themselves and their families a life of safety and plenty. But there are rumors of rebellion among the subjects, and Katniss and Peeta, to their horror, are the faces of that rebellion. The Capitol is angry. The Capitol wants revenge.With Hunger, British filmmaker and artist Steve McQueen has turned one of history’s most controversial acts of political defiance into a jarring, unforgettable cinematic experience. In Northern Ireland’s Maze prison in 1981, twenty-seven-year-old Irish Republican Army member Bobby Sands went on a hunger strike to protest the British government’s refusal to recognize him and his fellow IRA inmates as political prisoners, rather than as ordinary criminals. McQueen dramatizes prison existence and Sa! nds’ final days in a way that is purely experiential, even a! bstract, a succession of images full of both beauty and horror. Featuring an intense performance by Michael Fassbender, Hunger is an unflinching, transcendent depiction of what a human being is willing to endure to be heard.

Stills from Hunger











With the exception of Julian Schnabel, visual artists have had a tough time at the cinema, but like the American painter before him, B! ritain's Steve McQueen beat the odds with the award-winning Hunger. In his visceral depiction of a political hunger strike, McQueen emphasizes specific moments over plot mechanics. Guard Raymond Lohan (Stuart Graham) serves as a guide into the hell of Belfast's Maze Prison, circa 1981, where Bobby Sands (Michael Fassbender in a remarkable performance) and his IRA brethren hunker down in blankets, since they refuse to don uniforms and can't wear their own clothes. They dump food on the floor, smear waste on the walls, and sleep with maggots in protest against their conditions. Even after moving the prisoners, the mistreatment continues, so they step up their campaign. It's no way to live, and it isn't easy to watch, but McQueen provides a reprieve through Sands's riveting conversation with Father Dominic Moran (Liam Cunningham), a scene his backers pressured him to cut, but the filmmaker wisely stood firm In his director's statement, McQueen says he wanted to "show wh! at it was like to see, hear, smell, and touch in the H-Block."! Because he avoids editorializing, it's as easy to condemn his subjects for their naïve idealism as it is to admire their singularity of purpose. Art background aside, McQueen clearly knows his U.K. film history, and appears to have spent time with the works of Alan Clarke (specifically Elephant) and Stanley Kubrick (see A Clockwork Orange), who share his fascination with the abuse of power, the horror of sudden violence, and the splendor of the static shot. --Kathleen C. FennessyIn the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. The Capitol is harsh and cruel and keeps the districts in line by forcing them all to send one boy and one girl between the ages of twelve and eighteen to participate in the annual Hunger Games, a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when sh! e is forced to represent her district in the Games. But Katniss has been close to dead before-and survival, for her, is second nature. Without really meaning to, she becomes a contender. But if she is to win, she will have to start making choices that weigh survival against humanity and life against love.

Acclaimed writer Suzanne Collins, author of the New York Times bestselling The Underland Chronicles, delivers equal parts suspense and philosophy, adventure and romance, in this searing novel set in a future with unsettling parallels to our present.In the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. The Capitol is harsh and cruel and keeps the districts in line by forcing them all to send one boy and one girl between the ages of twelve and eighteen to participate in the annual Hunger Games, a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with! her mother and younger sister, regards it as a death sentence! when sh e is forced to represent her district in the Games. But Katniss has been close to dead before-and survival, for her, is second nature. Without really meaning to, she becomes a contender. But if she is to win, she will have to start making choices that weigh survival against humanity and life against love.

Acclaimed writer Suzanne Collins, author of the New York Times bestselling The Underland Chronicles, delivers equal parts suspense and philosophy, adventure and romance, in this searing novel set in a future with unsettling parallels to our present.

It's been three months since all the adults disappeared. Gone.

food ran out weeks ago and starvation is imminent. Meanwhile, the normal teens have grown resentful of the kids with powers. And when an unthinkable tragedy occurs, chaos descends upon the town. There is no longer right and wrong. Each kid is out for himself and even the good ones turn murderous.

But a larger problem looms. The Darkne! ss, a sinister creature that has lived buried deep in the hills, begins calling to some of the teens in the FAYZ. Calling to them, guiding them, manipulating them.

The Darkness has awakened. And it is hungry.


Fever 1793

  • ISBN13: 9780689848919
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
During the summer of 1793, Mattie Cook lives above the family coffee shop with her widowed mother and grandfather. Mattie spends her days avoiding chores and making plans to turn the family business into the finest Philadelphia has ever seen. But then the fever breaks out.

Disease sweeps the streets, destroying everything in its path and turning Mattie's world upside down. At her feverish mother's insistence, Mattie flees the city with her grandfather. But she soon discovers that the sickness is everywhere, and Mattie must learn quickly how to survive in a city turned frantic with disease.On the heels of her acclaimed contemporary teen novel Speak, Laurie Halse Anderson surprises her fans ! with a riveting and well-researched historical fiction. Fever 1793 is based on an actual epidemic of yellow fever in Philadelphia that wiped out 5,000 people--or 10 percent of the city's population--in three months. At the close of the 18th century, Philadelphia was the bustling capital of the United States, with Washington and Jefferson in residence. During the hot mosquito-infested summer of 1793, the dreaded yellow fever spread like wildfire, killing people overnight. Like specters from the Middle Ages, gravediggers drew carts through the streets crying "Bring out your dead!" The rich fled to the country, abandoning the city to looters, forsaken corpses, and frightened survivors.

In the foreground of this story is 16-year-old Mattie Cook, whose mother and grandfather own a popular coffee house on High Street. Mattie's comfortable and interesting life is shattered by the epidemic, as her mother is felled and the girl and her grandfathe! r must flee for their lives. Later, after much hardship and ! terror, they return to the deserted town to find their former cook, a freed slave, working with the African Free Society, an actual group who undertook to visit and assist the sick and saved many lives. As first frost arrives and the epidemic ends, Mattie's sufferings have changed her from a willful child to a strong, capable young woman able to manage her family's business on her own. (Ages 12 and older) --Patty Campbell

Pirates of the Caribbean: At World's End (Two-Disc Limited Edition)

  • Condition: New
  • Format: DVD
  • Subtitled; Color; Special Edition; Widescreen; NTSC
From Michael Cunningham, the Pulitzer Prize-winning author of The Hours, comes this widely praised novel of two boyhood friends: Jonathan, lonely, introspective, and unsure of himself; and Bobby, hip, dark, and inarticulate. In New York after college, Bobby moves in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.
From Michael Cunningham, the Pulitzer Prize-winning author of ! The Hours, comes this widely praised novel of two boyhood friends: Jonathan, lonely, introspective, and unsure of himself; and Bobby, hip, dark, and inarticulate. In New York after college, Bobby moves in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.
From Michael Cunningham, the Pulitzer Prize-winning author of The Hours, comes this widely praised novel of two boyhood friends: Jonathan, lonely, introspective, and unsure of himself; and Bobby, hip, dark, and inarticulate. In New York after college, Bobby moves in with Jonathan and his room! mate, Clare, a veteran of the city's erotic wars. Bobby and Cl! are fall in love, scuttling the plans of Jonathan, who is gay, to father Clare's child. Then, when Clare and Bobby have a baby, the three move to a small house upstate to raise "their" child together and, with an odd friend, Alice, create a new kind of family. A Home at the End of the World masterfully depicts the charged, fragile relationships of urban life today.
With score composed by famed singer/songwriter Duncan Sheik, A Home At The End Of The World also features songs from the '60s and '70s through the '80s, including tracks by Jefferson Airplane, Bob Dylan, The Band, Yaz, Patti Smith, Paul Simon, Leonard Cohen, Laura Nyro and more. Sheik's emotional score captures the essence of the characters' journeys through their lives and the relationships they develop along the way.Adapted from the novel/screenplay of Pulitzer Prize winner Michael Cunningham (The Hours), Colin Farrell gives an inspired performance as a tragedy-stricken youth whose search for iden! tity and happiness forms the core of its unconventional friendship and romance. Its warm, admirably eclectic song-based soundtrack echoes the film's two decade arc with selections that span both era and emotion, from the innocence of Dusty Springfield's "Wishin' and Hopin'" and Yaz' infectious "Only You" to the angst-ridden classic rock-era bookends of "Somebody to Love" by the Jefferson Airplane and Patty Smith's epochal "Because the Night." The score's classical selections continue that thread with excerpts from Mozart's Cosi Fan Tutte and contemporary minimalist Steve Reich's vibrant Music for Eighteen Musicians. But it’s the half-dozen warm, introspective new tracks from Duncan Sheik that form the soundtrack's evocative emotional core, with melancholic, production-rich standouts like "Something Somewhere" infusing it with a smart, contemporary atmosphere in the bargain. --Jerry McCulleyJust when he s needed most Captain Jack Sparrow (Johnny Dep! p) that witty and wily charmer of a pirate is trapped on a sea! of sand in Davy Jones Locker. In an increasingly shaky alliance Will Turner (Orlando Bloom) Elizabeth Swann (Keira Knightley) and Captain Barbossa (Geoffrey Rush) begin a desperate quest to find and rescue him. Captain Jack s the last of the nine Pirate Lords of the Brethren Court who must come together united in one last stand to preserve the freedom-loving pirates way of life. From exotic Singapore to World s End and beyond from Shipwreck Island to a titanic battle this adventure s filled with over-the-edge action irreverent humor and seafaring myth and magic. Everything has led to this twisting turning wild swashbuckling ride in this final chapter of the Pirates Of The Caribbean trilogySystem Requirements:Run Time: 165 minutesFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG-13 UPC: 786936293012 Manufacturer No: 04099100Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spo! ts (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous The Curse of the Black Pearl, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions! of himself on the deck of the Black Pearl. But Sparrow is nee! ded in t his world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley

On the DVD
Here's something you can't say about just any DVD extras: There appears to be more of Keith Richards in the outtakes, interviews, and other special features on the At World's End disc than in the actual film. For those scenes alone, this special edition is well worth the price. Richards looks as woozy and gamey as all the rumors suggested, and answers questions he's not asked, with Johnny Depp sitting next to him, almost acting as a translator. Richards offers pit! hy comments like, "Everything I do is original, you better believe," and smiles when other cast members call him "Two-Take Richards" for supposedly nailing his scenes.

The packed second disc also includes a terrific mini-doc on how the filmmakers created the famous maelstrom, in an enormous hanger in Palmdale, California, with the ships floating 30 feet off the ground. "Just moving the Black Pearl was an enormous undertaking," says producer Jerry Bruckheimer with serious understatement. Other cool extras include "Tale of the Many Jacks," deleted scenes with great commentary, "The World of Chow Yun-Fat," a bio of composer Hans Zimmer, features on the set designers, a look at the impressive Brethren Court, and some hilarious bloopers. "You can't curse in a Disney film," deadpans Depp when a costar blurts out something blue. "See? I told him." The extras are truly as much of a rollicking adventure as the film. --A.T. Hurley

! Beyond Pirates of the Caribbean: At World’s End


Our Pirates of the Caribbean Store

Pirates of the Caribbean: Curse of the Black Pearl

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Pirates of the Caribbean: At World’s End Soundtrack

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Johnny Depp Essential DVDs
Stills from Pirates of the Caribbean: At World’s End (click for larger image)

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