Air Force One

• TESTED

DVDYou know that old dramatic principle of suspension of disbelief? You'll have to rely on it for this box-office smash, but you won't be disappointed. Harrison Ford plays a U.S. president who single-handedly employs his rigid antiterrorism policy when a band of Russian thugs hatch a mid-flight takeover of Air Force One. Gary Oldman, who chews the scenery as the lead terrorist, will shoot a hostage at the slightest provocation. Glenn Close plays the sternly pragmatic vice president who negotiates with Oldman from her Washington seat of power. If you can believe that the aircraft's pressurized cabin can sustain hundreds of rounds of machine-gun fire, you'll buy anything in this entertaining potboiler, especially thanks to Ford's stalwart heroics and some nifty special effects. Director Wolfgang Petersen (Das Boot) keeps the action moving so fast you won't be sweating the details.! Don't forget your parachute! --Jeff Shannon

EDtv : Widescreen Edition

• Widescreen

Video store clerk Ed agrees to have his life filmed by a camera crew for a TV network.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 4-MAR-2003
Media Type: DVDThe third entry of 1998-99's cinematic TV trilogy kind of got lost in the shuffle following The Truman Show, an art film masquerading as a blockbuster, and Pleasantville, a heartfelt feel-good movie masquerading as a special-effects extravaganza. EDtv is nothing more than it appears: a scruffy comedy about fame and its discontents. Matthew McConaughey stars as Ed, a white-trash rube who gets his own dawn-to-midnight TV series in which every aspect of his life, no matter how sordid or dull or embarrassing, becomes mass entertainment (it inverts Truman by having the protagonist invite the pervasive cameras). Predictably, fame makes him miserable and, un! surprisingly, he finds a way out of his predicament. Albert Brooks covered this same territory in the funnier Real Life, and it's probably not the best idea for a load of comfy celebs to preach to us about how difficult fame is. But the film is cannily cast, including a number of performers who themselves have fallen victim to stupid media tricks (McConaughey, Ellen DeGeneres as the network executive, Elizabeth Hurley as a vamp hitching her star to Ed's, and Woody Harrelson as Ed's even dumber brother). Structurally, the movie is a mess. It looks as if the filmmakers had the choice between making a fully realized, two-and-a-half-hour-long movie that no one would sit through or one that clocks in under two hours but has a lot of plot holes; they opted for the latter (Hurley's character disappears, practically without comment). Still, there are enough laughs to keep things moving, and as a shaggy dog tale it's decent fun. --David KronkeThe third entry of 1998-99! 's cinematic TV trilogy kind of got lost in the shuffle follow! ing T he Truman Show, an art film masquerading as a blockbuster, and Pleasantville, a heartfelt feel-good movie masquerading as a special-effects extravaganza. EDtv is nothing more than it appears: a scruffy comedy about fame and its discontents. Matthew McConaughey stars as Ed, a white-trash rube who gets his own dawn-to-midnight TV series in which every aspect of his life, no matter how sordid or dull or embarrassing, becomes mass entertainment (it inverts Truman by having the protagonist invite the pervasive cameras). Predictably, fame makes him miserable and, unsurprisingly, he finds a way out of his predicament. Albert Brooks covered this same territory in the funnier Real Life, and it's probably not the best idea for a load of comfy celebs to preach to us about how difficult fame is. But the film is cannily cast, including a number of performers who themselves have fallen victim to stupid media tricks (McConaughey, Ellen DeGeneres as the netwo! rk executive, Elizabeth Hurley as a vamp hitching her star to Ed's, and Woody Harrelson as Ed's even dumber brother). Structurally, the movie is a mess. It looks as if the filmmakers had the choice between making a fully realized, two-and-a-half-hour-long movie that no one would sit through or one that clocks in under two hours but has a lot of plot holes; they opted for the latter (Hurley's character disappears, practically without comment). Still, there are enough laughs to keep things moving, and as a shaggy dog tale it's decent fun. --David KronkeIt's the unforgettable story of a nobody...that everybody's watching! Matthew McConaughey and Jenna Elfman star in this hilarious romantic comedy Joel Siegel of Good Morning America calls "Big-Laugh Funny."

Ed Pekurny (McConaughey) is just a regular guy who feels he has nothing to lose by agreeing to be a star of a new reality-based TV show. Almost overnight, the program becomes a hit, and suddenly this goofy but ! engaging video clerk is a national celebrity! Everything's fab! ulous... until Ed falls head-over-heels for Shari (Elfman), the girlfriend of his brother Ray (Woody Harrelson). Suddenly their most private moments become public entertainment - and the ratings go through the roof - as millions of fans tune in to watch a real soap opera filled with comedy and romance.

Superbly directed by Ron Howard and featuring a stellar supporting cast including Elizabeth Hurley, Sally Kirkland, Martin Landau, Ellen DeGeneres, Rob Reiner and Dennis Hopper, EDtv is an outrageous look at instant fame, overnight success, and sharing your life with a few million of your closest fans.The third entry of 1998-99's cinematic TV trilogy kind of got lost in the shuffle following The Truman Show, an art film masquerading as a blockbuster, and Pleasantville, a heartfelt feel-good movie masquerading as a special-effects extravaganza. EDtv is nothing more than it appears: a scruffy comedy about fame and its discontents. Matthew McConaughey stars as ! Ed, a white-trash rube who gets his own dawn-to-midnight TV series in which every aspect of his life, no matter how sordid or dull or embarrassing, becomes mass entertainment (it inverts Truman by having the protagonist invite the pervasive cameras). Predictably, fame makes him miserable and, unsurprisingly, he finds a way out of his predicament. Albert Brooks covered this same territory in the funnier Real Life, and it's probably not the best idea for a load of comfy celebs to preach to us about how difficult fame is. But the film is cannily cast, including a number of performers who themselves have fallen victim to stupid media tricks (McConaughey, Ellen DeGeneres as the network executive, Elizabeth Hurley as a vamp hitching her star to Ed's, and Woody Harrelson as Ed's even dumber brother). Structurally, the movie is a mess. It looks as if the filmmakers had the choice between making a fully realized, two-and-a-half-hour-long movie that no one would sit thr! ough or one that clocks in under two hours but has a lot of pl! ot holes ; they opted for the latter (Hurley's character disappears, practically without comment). Still, there are enough laughs to keep things moving, and as a shaggy dog tale it's decent fun. --David Kronkedvd

Boys and Girl from County Clare Beautiful MUSEUM WRAP CANVAS Print with Added BRUSHSTROKES Unknown 11x17

• Title: Boys and Girl from County Clare
• Artist: Unknown
• MUSEUM WRAP Canvas - Added Brush Strokes (SPECIAL NOTE: BELOW)
• Image Size: 11.00in. x 16.36in.
• Paper Size: 11.00in. x 17.00in.

BOYS AND GIRL FROM COUNTY CLARE - DVD MovieTitle: Boys and Girl from County Clare. Artist: Unknown. Image Size: 11.00in. x 16.36in. Paper Size: 11.00in. x 17.00in. Beautiful MUSEUM WRAP CANVAS Print with Added BRUSHSTROKES

The Canvas Transfer Process

Producing a canvas transfer is an intensely detailed process, which begins with an art print (ink on paper). Special chemicals are applied which, when dried, form a film that is meticulously separated from the paper and permanently embedded onto a high quality artist canvas. The canvas is then carefully stretched and wrapped around a sturdy, custom-cut inner support frame, called a "stretcher bar". Added brushstrokes are also care! fully painted on to the canvas.

Ready to Hang

Canvas is wrapped around the stretcher bars and stapled on the back. White canvas will show on the sides and no part of the image is lost during this wrapping process. The stretcher bar on the back of the canvas has a saw-tooth hanger, making it ready to hang on your wall. The canvas texture and non-reflective nature of a canvas transfer allows you to hang them under any lighting conditions. A canvas transfer has a lifespan as long as any original painting or work of art. They can easily be dusted and cleaned with a damp cloth, giving years of use and enjoyment.

Easily Framed

Since there is no need to cover a canvas transfer with glass, having your canvas transfer framed is easy and cost effective.

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If your order contains a border around the main design of the image, it WILL BE cropped off. This will occur if there is a white, black orother colored border around the main image. An! y text that appears in the border WILL also be cropped off as ! well. < p>Cropping will REDUCE the overall size of the Museum Wrap from the dimensions stated above.

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Furreal Baby Luv Cub Brown Bear

• But his very favorite thing to do isn?t even eating or playing ? it?s hugging!
• Give your little cub a hug and he?ll actually hug you in return, just to show you just how much he loves you.
• Loveable furry baby brown bear figure makes giggling sounds!
• Listen to him ?giggle?!
• Figure comes with bottle accessory .

Don't Move

• Timoteo's life takes a dramatic turn when he discovers that his fifteen year old daughter has been seriously injured in a motorcycle accident. As she undergoes emergency surgery, Timoteo casts his mind back to his illicit affair with the passionate Italia. Based on the novel by Margaret Mazzantini. Format: DVD MOVIE Genre: FOREIGN Rating: NR Age: 720917549125 UPC:&nb

Called to the hospital when his fifteen-year-old daughter, Angela, is injured in a potentially fatal accident, a prominent surgeon sits and waits, silently confessing the affair he had the year Angela was born. As Timoteo’s tale begins, he’s driving to the beach house where his beautiful, accomplished wife, Elsa, is waiting. Car trouble forces him to make a detour into a dingy suburb, where he meets Italiaâ€"unattractive, unpolished, working-classâ€"who awakens a part of him he scarcely recognizes. Disenchanted with his ! stable life, he seizes the chance to act without consequences, and their savage first encounter spirals into an inexplicable obsession. Returning again and again to Italia’s dim hovel, he finds himself faced with a choice: a life of passion with Italia, or a life of comfort and predictability with Elsa. As Angela's life hangs in the balance, Timoteo's own life flashes before his eyes, this time seen through the lens of the one time he truly lived.Timoteo's life takes a dramatic turn when he discovers that his fifteen year old daughter has been seriously injured in a motorcycle accident. As she undergoes emergency surgery, Timoteo casts his mind back to his illicit affair with the passionate Italia... Based on the novel by Margaret Mazzantini.

Crossing Over

• CROSSING OVER (DVD MOVIE)

Harrison Ford (Indiana Jones films) is on a quest for justice as an immigrations agent investigating the case of a missing illegal. In a cross-fire of crime and bureaucracy, fraud and murder, he must race against time to try to save a family from becoming collateral damage in the fight for the American dream. Critics rave, “Harrison Ford is terrific. An engrossing, thoroughly entertaining movie with great performances from a first-rate ensemble cast” (Pete Hammond, Hollywood.com). Co-starring Ashley Judd (Twisted), Ray Liotta (Smokin’ Aces), Jim Sturgess (21), and Cliff Curtis (10,000 BC); Crossing Over will keep you riveted until the final mystery unfolds.

Stills from Crossing Over (Click for larger image)

!

The director of The Cooler tries a bigger canvas: Crossing Over is Wayne Kramer's take on nothing less than the vast subject of illegal immigration, coming at the topic from a dozen or so directions. Hefting the most star power is Harrison Ford, scurrying about as an L.A. Immigration and Customs officer whose conscience is sore from having trundled so many illegals back over the border--now he's worried about the child of a particularly vulnerable woman (Alice Braga). Cliff Curtis plays Ford's partner, an Iranian-American whose family ! is not as assimilated as his casual manner might suggest. There's a bit of pulp swagger in other sections of the picture, as Kramer tries to channel his inner Sam Fuller: for instance, an Immigration official (Ray Liotta at his piggiest) coerces an Australian actress (Alice Eve) into a sex-for-green-card affair, and an adolescent Arab-American girl (Summer Bishil, from Towelhead) gives a cheeky speech at school that puts her family under suspicion as possible terrorists. Other strands of this scenario aren't as urgent, as Ashley Judd dreams of adopting the African child she's tending, and Jim Sturgess (Across the Universe), as a British non-believer, tries to convince Immigration authorities of his commitment to working at a Jewish school. The movie's single best scene has him "auditioning" to convince a rabbi of his commitment to Judaism, a funny moment that also carries an echo of the history of Jewish exodus. The movie has a tendency to bash from one thing ! to the next, too neatly connecting its Crash-like plotl! ines, li ke a really spirited first draft of a better movie. --Robert Horton

A Decade Under the Influence

• The 1970s was an extraordinary time of rebellion, and of questioning every accepted idea. As political activism, the sexual revolution, teh woman's movement, and the music revolution contributed to social unrest across the country, American cinema witnessed the emergence of a new generation of filmmakers. Galvanized by a new freedom of expression, these ground-breaking artists began targeting

The 1970s was an extraordinary time of rebellion. As political activism, the sexual revolution, the women's movement, and the music revolution contributed to social unrest across America, American cinema witnessed the emergence of a new generation of filHow did Hollywood make so many great, challenging, offbeat films in the 1970s? A Decade Under the Influence lists the reasons--or rather, lets the people who did the filmmaking list the reasons. The decade-shaping interviewees include Martin Scors! ese, Robert Altman, Francis Coppola, et al. The film's argument has actually been conventional wisdom for at least 10 years, but it's well-supported by an abundance of clips, which should inspire even hardcore film buffs to seek out rarities such as Thunderbolt and Lightfoot or The King of Marvin Gardens. One might observe that the scarcity of women directors or black filmmakers suggests that the decade was not entirely golden, and the memories may be burnished a bit by nostalgia. But there's no question that the big studios were far more adventurous back then, and this briskly moving survey gives a lively Film 101 lecture in exactly why. --Robert Horton

THE HI-LO COUNTRY ORIGINAL MOVIE POSTER

• 27X41
• DESCRIPTION:  Authentic original (or specified high quality reproduction) one-sheet movie poster.
• SIZE: Approx 27x40 inches unless otherwise stated.

Now a major motion picture from Gramercy Pictures starring Woody Harrelson, Billy Crudup, and Patricia Arquette. They were two cowboys out of the New Mexico dust. Cowpunchers and manpunchers, they hit hard, lived raw, and rode the beautiful Hi-Lo country as best friends and comrades. Until one night, when they fell in love with the same woman--a beautiful, irresistible, married woman.Based on the novel by Max Evans and directed by Stephen Frears, The Hi-Lo Country charted a long and circuitous route to the big screen, and the final result proves that the material posed a major--and perhaps insurmountable--challenge for screen adaptation. It's easy to see why this contemporary Western was once a coveted project o! f director Sam Peckinpah; its codes of honor, male bonding, and hardened morality would've played nicely into Peckinpah's artistic legacy. There are clear echoes of Peckinpah in the screenplay by Walon Green (who wrote The Wild Bunch), and while the movie is blessed by Woody Harrelson's vivid performance as a reckless latter-day cowboy, Frears fails to maintain a compelling tone and the rest of the cast nearly fades into the background.

Billy Crudup (Without Limits) plays Harrelson's best pal, just returned to New Mexico from service in World War II with hopes of starting a cattle ranch free from the greedy clutches of a local rancher (Sam Elliott) who dominates the town of Hi-Lo like a bootclad kingpin. Harrelson joins in the effort, but tensions rise when he connects with the sultry seductress (Patricia Arquette) with whom Crudup has fallen inexplicably in love. Harrelson has provoked others as well, and he seems primed for a fall, but The ! Hi-Lo Country is a film out of balance. Memorable moments ! are fou nd in abundance, and the film's period detail is impeccable, but Crudup's character is so underwritten and underplayed that his role as narrator and ostensible hero has minimal dramatic impact. By the time fate deals its inevitable blow, it's too late to care. Frears has suffered from similar missteps before (remember Mary Reilly?), and The Hi-Lo Country leaves you wondering what Peckinpah might have done with the novel he so dearly admired. --Jeff ShannonIn his tale of two cowboys whose lives twist and fray, director Stephen Frears casts a nostalgic eye on the postwar West but falls short of reinventing Hollywood's most circumscribed genre, the Western. Although The Hi-Lo Country is set in northern New Mexico, its soundtrack sounds decidedly Lone Star. With famous Texans like Willie Nelson and the matchless yodeler Don Walser crooning some dusty charmers and a couple of country standards like "San Antonio Rose" and "Why Don't You Love Me" th! rown in for good measure, the overall mood is very barbecue-friendly. Only Beck, who duets with Nelson on "Drivin' Nails in My Coffin" sounds a bit out of place here, his nasal drawl in curious contrast to Nelson's unmistakable whinny. Carter Burwell's score is standard-issue "epic" in its long gazes that suggest the largeness of both the West and the men's souls who inhabit it, but it gains an edge with its austere cadences and Mexican trumpet and guitar flourishes. --Lois MaffeoBased on the novel by Max Evans and directed by Stephen Frears, The Hi-Lo Country charted a long and circuitous route to the big screen, and the final result proves that the material posed a major--and perhaps insurmountable--challenge for screen adaptation. It's easy to see why this contemporary Western was once a coveted project of director Sam Peckinpah; its codes of honor, male bonding, and hardened morality would've played nicely into Peckinpah's artistic legacy. There are ! clear echoes of Peckinpah in the screenplay by Walon Green (w! ho wrote The Wild Bunch), and while the movie is blessed by Woody Harrelson's vivid performance as a reckless latter-day cowboy, Frears fails to maintain a compelling tone and the rest of the cast nearly fades into the background.

Billy Crudup (Without Limits) plays Harrelson's best pal, just returned to New Mexico from service in World War II with hopes of starting a cattle ranch free from the greedy clutches of a local rancher (Sam Elliott) who dominates the town of Hi-Lo like a bootclad kingpin. Harrelson joins in the effort, but tensions rise when he connects with the sultry seductress (Patricia Arquette) with whom Crudup has fallen inexplicably in love. Harrelson has provoked others as well, and he seems primed for a fall, but The Hi-Lo Country is a film out of balance. Memorable moments are found in abundance, and the film's period detail is impeccable, but Crudup's character is so underwritten and underplayed that his role as narrator and o! stensible hero has minimal dramatic impact. By the time fate deals its inevitable blow, it's too late to care. Frears has suffered from similar missteps before (remember Mary Reilly?), and The Hi-Lo Country leaves you wondering what Peckinpah might have done with the novel he so dearly admired. --Jeff ShannonPRODUCT DESCRIPTION: At Moviestore we have an unbeatable range of both original and classic high quality reproduction movie posters. Movie poster art is a wonderful collectible item and great for home or office decor. We have been in business for 16 years so you can buy with confidence. Our guarantee - if you are not fully satisfied with your purchase from Moviestore we will gladly refund your money.