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Tuesday, November 22, 2011
Godzilla Japanese 6" Vinyl Figure Final Wars 1954 Godzilla Re-Paint
Quiksilver Men's Interceptor Long Sleeve Surf Shirt, White/Navy, X-Large
- Snug fit
- Upf 50+
- Reinforced flat locked stitching for durability
- Board short loop fastener to attach a house or car key
- 6 ounce polyester
The Assassination of Jesse James by the Coward Robert Ford
- Everyone in 1880s America knows Jesse James. Hes the nations most notorious criminal, hunted by the law in 10 states. Hes also the lands greatest hero, lauded as a Robin Hood by the public. Robert Ford? No one knows him. Not yet. But the ambitious 19-year-old aims to change that. Hell befriend Jesse, ride with his gang. And if that doesnt bring Ford fame, hell find a deadlier way.Friendship become
Jesse James was a fabled outlaw, a charismatic, spiritual, larger-than-life bad man whose bloody exploits captured the imagination and admiration of a nation hungry for antiheroes. Robert Ford was a young upstart torn between dedicated worship and murderous jealousy, the "dirty little coward" who coveted Jesse's legend. The powerful, strange, and unforgettable story of their interweaving pathsâ€"and twin destinies that would collide in a rain of blood and betrayalâ€"is a story of America in all ! her rough, conflicted glory and the myths that made her.
2008 soundtrack to the acclaimed film starring Brad Pitt. The soundtrack's composers, Nick Cave and Warren Ellis, come from the internationally celebrated bands Nick Cave And The Bad Seeds, The Dirty Three and Grinderman. Cave and Ellis composed, played and produced this compelling and intense soundtrack for director Andrew Dominik's savage tale of the true West, The Assassination of Jesse James By The Coward Robert Ford. This soundtrack perfectly captures the charismatic and unpredictable nature of the film's central protagonist. Like the film, Cave and Ellis' music cuts through the mythic figure of Jesse James to reveal the complex, contradictory man beneath. Daring and passionately delivered, this beautiful soundtrack retains its captivating power even without the benefit of Dominik's images. Mute.Hansen re-creates the real West with his imaginative telling of the life of the most famous outlaw of them all, ! Jesse James, and of his death at the hands of the upstart Robe! rt Ford. James, a charismatic, superstitious, and moody man, holds sway over a ragged gang who fear his temper and quick shooting. Robert Ford, a young gang member torn between worshipping Jesse and taking his place, guns him down in cold blood and lives out his days tormented by the killing.Everyone in 1880s America knows Jesse James. He’s the nation’s most notorious criminal, hunted by the law in 10 states. He’s also the land’s greatest hero, lauded as a Robin Hood by the public. Robert Ford? No one knows him. Not yet. But the ambitious 19-year-old aims to change that. He’ll befriend Jesse, ride with his gang. And if that doesn’t bring Ford fame, he’ll find a deadlier way. Friendship becomes rivalry and the quest for fame becomes obsession in this virile epic produced in part by Ridley Scott and featuring gripping portrayals by Brad Pitt (winner of the Venice Film Festival Best Actor Award) as Jesse and Casey Affleck as the youth drawn closer to his goal…and farthe! r from his own humanity.Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, The Assassination of Jesse James by the Coward Robert Ford is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was--will be--murdered in his parlor one quiet afternoon by a backshooting crony.The film--only the second to be made by New Zealandâ€"born writer-director Andrew Dominik--reminds us that Dominik's debut film, Ch! opper (2000), was the cunningly off-kilter portrait of ano! ther rea l-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise.
Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerizing in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness i! s astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a wellnigh-novelistic backstory for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie "Western" The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title.
Still, the real costar is Roger Deakins, probably the finest cinematographer at work today. The landscapes of the movie (mostly in Alberta and Manitoba) will linger in the memory as long as the distinctive faces, and we seem to feel the sting of its snows on our cheeks. Interior scenes are equally persuasive. Few West! erns have conveyed so tangibly the bleakness and austerity of ! the spac es people of the frontier called home, and sought in vain to warm with human spirit. --Richard T. Jameson
Ghost Dog - Way of Samurai - Whitaker Jarmusch 11x17 Poster
- 11x17 INCHES
Genre: Feature Film Urban Action
Rating: R
Release Date: 21-OCT-2003
Media Type: DVDForest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated cod! e of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean AxmakerForest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street cl! othes, and oddly graceful gait--but then Ghost Dog: The Way! of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-dr! iven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean AxmakerForest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film)! . When t he local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean AxmakerForest Whitaker makes an unlikely modern samu! rai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor.! Though it briefly stalls in a series of assassinations (Jarmu! sch is n o action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean AxmakerForest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior! outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, a! nd salutes his heroes with a skewed but sincere respect. --! Sean Axm akerIndie film director Jim Jarmusch always works an unexpected angle, whether it's offbeat humor, a nonlinear narrative, or specific and idiosyncratic characterization. For his latest film--the story of a ghetto hit man who lives by the codes of the Hagakure, an 18th-century Japanese warrior text--Jarmusch enlisted RZA, a founding member of the Wu-Tang Clan. Instead of imagistic tone poems that serve to reinforce a certain mood, Ã la Neil Young on Dead Man, RZA offers active gunplay that propels the film's narrative. The 11 tracks serve as an RZA-producer showcase, standing as independent pieces, regardless of the movie itself. Tracks vary from the subdued "4 Sho Sho," which interpolates Forest Whitaker's interior monologue with RZA's street visions, to the stuttering rhythms of Kool G. Rap's "Cakes." Tekitha's '70s disco groove for "Walkin' Through the Darkness" offers unexpected sensuality, while "The Man" by Masta Killah sets things back on the gangsta tip. ! --Rob O'Connor Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a ni! ght drive across town seems to float in time) and off-center h! umor. Th ough it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean Axmaker
An American Haunting: The Bell Witch
- ISBN13: 9780312363536
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
The United States had never lost a warÂâ€"that is, until 1975, when it was forced to flee Saigon in humiliation after losing to what Lyndon Johnson called a "raggedy-ass little four! th-rate country." The legacy of this first defeat has haunted every president since, especially on the decision of whether to put "boots on the ground" and commit troops to war.
In Haunting Legacy, the father-daughter journalist team of Marvin Kalb and Deborah Kalb presents a compelling, accessible, and hugely important history of presidential decisionmaking on one crucial issue: in light of the Vietnam debacle, under what circumstances should the United States go to war?
The sobering lesson of Vietnam is that the United States is not invincibleÂâ€"it can lose a warÂâ€"and thus it must be more discriminating about the use of American power. Every president has faced the ghosts of Vietnam in his own way, though each has been wary of being sucked into another unpopular war. Ford (during the Mayaguez crisis) and both Bushes (Persian Gulf, Iraq, Afghanistan) deployed massive force, as if to say, "Vietnam, be damned." On the other hand, Carter, Clinton, ! and Reagan (to the surprise of many) acted with extreme cautio! n, mindf ul of the Vietnam experience. Obama has also wrestled with the Vietnam legacy, using doses of American firepower in Libya while still engaged in Iraq and Afghanistan.
The authors spent five years interviewing hundreds of officials from every postwar administration and conducting extensive research in presidential libraries and archives, and they've produced insight and information never before published. Equal parts taut history, revealing biography, and cautionary tale, Haunting Legacy is must reading for anyone trying to understand the power of the past to influence war-and-peace decisions of the present, and of the future.
Known throughout Tennessee as "Old Kate," the Bell Witch took up residence with John Bell's family in 1818. It was a cruel and noisy spirit, given to rapping and gnawing sounds before it found its voices.
With these voices and its supernatural acts, the Bell Witch tormented the Bell family. This extraordinary book recounts the ! only documented case in U.S. history when a spirit actually caused a man's death.
The local schoolteacher, Richard Powell, witnessed the strange events and recorded them for his daughter. His astonishing manuscript fell into the hands of novelist Brent Monahan, who has prepared the book for publication. Members of the Bell family have previously provided information on this fascinating case, but this book recounts the tale with novelistic vigor and verve. It is truly chilling.
With these voices and its supernatural acts, the Bell Witch tormented the Bell family. This extraordinary book recounts the ! only documented case in U.S. history when a spirit actually caused a man's death.
The local schoolteacher, Richard Powell, witnessed the strange events and recorded them for his daughter. His astonishing manuscript fell into the hands of novelist Brent Monahan, who has prepared the book for publication. Members of the Bell family have previously provided information on this fascinating case, but this book recounts the tale with novelistic vigor and verve. It is truly chilling.
Ghost stories in various forms have been a part of popular literature for centuries, from Shakespeare to Dickens to Faulkner. Over the past twenty-five years, a resurgence of haunting plots has occurred in American literature. In Cultural Haunting, Kathleen Brogan makes the case that this recent preoccupation with ghosts stems not from a lingering interest in Gothic themes but instead from a whole new g! enre in American literature that she calls "the story of ! cultural haunting."
Examining Louis Erdrich's Tracks, Toni Morrison's Beloved, and Cristina Garcia's Dreaming in Cuba, Brogan argues that modern ghost stories offer a way for minority authors to come to terms with their lost cultural identities. At the heart of this process, she contends, is the experience of mourning as that form of memory determined by an awareness of a break with the past. While conscious of the cultural differences among these haunted tales of slavery, colonization, and immigration, the author demonstrates that they all function similarly: to re-create ethnic identity by imaginatively recovering a collective history that in many cases has been fragmented or erased. Her readings show how the specific histories and local meanings support the pan-ethnic genre she has defined.
The book suggests that modern stories of haunting reflect the increased emphasis on ethnic and racial differentation in American society over the past thirty years. The ghosts found in contemporary American literature lead us to the heart of our nation's discourse about multiculturalism and ethnic identity.A young couple down on their luck moves into an old Texas house--but something inside the house doesn't want them to stay in this original and horrifying novel about blackest evil.From headless phantoms and screaming specters to invisible poltergeists and disembodied voices, ghosts occupy our homes, infest cemeteries and graveyards, lurk in nearby caves and forests, and even wander city streets. However, despite the wealth of sightings, aspiring ghost hunters have few resources.       Â
Now, for the first time, here is a fully functioning field guide for those courageous investigators! who wish to observe and interact with supernatural beings and! the spi rit world. Drawn from all available evidence, including recent research and sightings, modern urban legends, and Native American mythology and North American folklore, this book describes in detail over 100 haunted sites and their resident specters.
       Â
Brimming with useful advice and practical tips for the ghost hunter, The Field Guide to North American Hauntings provides vital information for those seeking to encounter ghosts. Whether exploring the lonely cells of Alcatraz or the desolate stretch of road known as Route 666, or searching for specters at the White House, ghost hunters will always be prepared with The Field Guide to North American Hauntings.W. Haden Blackman itemizes over 100 haunted sites and their resident specters, focusing on haunted houses, haunted vessels, haunted cemeteries, and haunted sites in nature--from the Hotel del Coronado in San Diego (where Kate Morgan, killed on Thanksgiving Day in 1892, now appears in a! black lace dress and makes strange choking noises) to Franklin's Haunted Orchard (where a foreign-born peddler was killed and buried under an apple tree in 1759, and where apple trees have continued to this day to produce blood-stained blossoms and blood-streaked apple pulp).
Blackman intends his guide, however, to be more than just another ghoulish anthology. If you want to find and interact safely with ghosts, you need to know where to go, what to look for, and how benign the ghosts are. For each site, along with a full narrative and supernatural history, Blackman includes its address and whereabouts, the number of ghostly residents, their identities, and the type of ghostly activities that have been observed. He tells what their demeanors are (their personalities; propensities for mischief, violence, or both; and attitudes toward the living), and the likelihood of encountering the spirit or ghostly phenomenon while visiting. A chapter on ghost huntin! g provides worthwhile tips for anyone wishing to avoid, cope ! with, or encounter a spectral presence, and the appendices--with sample questionnaires for ghost witnesses, sample questionnaires for ghosts, a glossary, and listings by state and province--round out the practical nature of Blackman's guide. But even if you haven't the slightest interest in searching out ghost haunts, the book is worth it for the sensational stories alone. --Stephanie Gold
Known throughout Tennessee as "Old Kate," the Bell Witch took up residence with John Bell's family in 1818. It was a cruel and noisy spirit, given to rapping and gnawing sounds before it found its voices.
With these voices and its supernatural acts, the Bell Witch tormented the Bell family. This extraordinary book recounts the only documented case in U.S. history when a spirit actually caused a man's death.
The local schoolteacher, Richard Powell, witnessed the strange events and recorded them for his daughter. His astonishing manuscript fell into the hands of nov! elist Brent Monahan, who has prepared the book for publication. Members of the Bell family have previously provided information on this fascinating case, but this book recounts the tale with novelistic vigor and verve. It is truly chilling.
With these voices and its supernatural acts, the Bell Witch tormented the Bell family. This extraordinary book recounts the only documented case in U.S. history when a spirit actually caused a man's death.
The local schoolteacher, Richard Powell, witnessed the strange events and recorded them for his daughter. His astonishing manuscript fell into the hands of nov! elist Brent Monahan, who has prepared the book for publication. Members of the Bell family have previously provided information on this fascinating case, but this book recounts the tale with novelistic vigor and verve. It is truly chilling.
Bloodrayne (Unrated Director's Cut)
- BloodRayne is the action-packed film in the vein of Elektra and stars an incredible all star cast including Kristanna Loken, Ben Kingsley, Michelle Rodriquez, Billy Zane, Michael Madsen, and Meat Loaf. This comic book super-hero battles to save humanity from the dawn of an advancing vampire army. Features terrific action scenes and special effects. Format: DVD MOVIE Genre:Â ACTION/ADVENT
Air Bud - Golden Receiver
- The creators of the original Air Bud score once again with this hilarious heartwarming hit! This time out, Buddy, the hoop-shooting, hotshot canine, tackles a new sport-football. When his teenage owner reluctantly becomes the school s new quarterback, Buddy catches the spirit and joins the team. Soon the two find themselves leading the Timberwolves to the state championship. But victory hopes a
After Midnight
- Fiction
- Thriller
In 1937, German author Irmgard Keun had only recently fled Nazi Germany with her lover Joseph Roth when she wrote this slim, exquisite, and devastating book. It captures the unbearable tension, contradictions, and hysteria of pre-war Germany like no other novel. Yet even as it exposes huma! n folly, the book exudes a hopeful humanism. It is full of humor and light, even as it describes the first moments of a nightmare. After Midnight is a masterpiece that deserves to be read and remembered anew.No Description Available.
Genre: Horror
Rating: R
Release Date: 20-SEP-2005
Media Type: DVD
When the ever practical Caroline Cabot first hears those words from the lips of her fanciful youngest sister, she accuses Portia of having a wild imagination.
But when she discovers their sister Vivienne is actually being courted by Adrian Kane, the mysterious viscount rumored to be a vampire, she decides to accept his invitation to a midnight supper and do some sleuthing of her own. To both her delight and her dismay, she soon finds herself falling under Kane's bewitching spell.
After all, what's a proper young lady to do when her sister's suitor arouses more than just her s! uspicions?
