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Friday, November 4, 2011
Big Lebowski The Dude Black & White Photo Mens T-shirt S
Angel: The Complete Series (Collector's Set)
- Condition: New
- Format: DVD
- Box set; Color; DVD; NTSC
- ANGEL SEASON 1 (6 DISCS)
- ANGEL SEASON 2 (6 DISCS)
- ANGEL SEASON 3 (6 DISCS)
- ANGEL SEASON 4 (6 DISCS)
- ANGEL SEASON 5 (6 DISCS)
He's hunky, he's brooding, he's a do-gooder, and he was Buffy's first boyfriend. Angel, the tortured vampire destined to walk the earth with a soul, got his own series after three seasons on Buffy the Vampire Slayerand did what any new star might do: he moved to L.A. (the City of Angels--get it?) and set up shop. Angel (co-created by Buffy mastermind Joss Whedon) finds the titular vampire (David Boreanaz) as a kind of supernatural private investigator, fighting evil one case at a time and, like his ex-girlfriend, keeping the world from getting destroyed by vengeful demons and such. This first season features guest a! ppearances by various Buffy characters, including werewolf boy Oz (Seth Green), rogue slayer Faith (Eliza Dushku), deliciously evil vamp Darla (Julie Benz), and Buffy herself (Sarah Michelle Gellar), all of whom helped get the show off and running in style.
Angel - Season Two
The second season of Angel, saw the cult vampire show finally stand on its own from Buffy the Vampire Slayer, assembling all the members of the show's core cast, transferring the action to a fashionably run-down L.A. hotel, and bringing in a few Buffy characters from Angel's history to further establish the moody vampire's own mythology. Moving their Angel Investigations to posher digs, Angel (David Boreanaz), Cordelia (Charisma Carpenter), and Wesley (Alexis Denisof) were soon joined by street fighter (J. August Richards)â€"-and by street fighter, of course we mean demon street fighter. But just as this group was solidifying, up popped Angel's old love, Darla (the fantastic Julie Benz), ! freshly arrived in L.A. from a hell dimension… just in time ! to be tu rned into a vampire again by her old cohort, Drusilla (Juliet Landau), and lure Angel into abandoning his newly formed team.
Angel - Season Three
In the third season of Angel, the titular vampire with a soul was forced to stand alone thanks to the (temporary) death of his beloved Buffy and her show's move to a new network, with no crossover between the two allowed. He returns from seeking peace in a demon-haunted monastery to find the L.A. Angel Investigations team fighting supernatural crime in his absence. Fred is still haunted by the nightmare dimension from which they rescued her; Cordelia's visions get ever more painful and debilitating. The schemes of the evil law firm Wolfram and Hart become every more imaginative and dragon lady Lilah Morgan becomes even more of an enemy when lusting after Angel. Unbelievably, Darla, Angel's vampire sire and lover, turns up, pregnant with his child and is tortured by inexplicable motherly feelings as well as a raging th! irst for human blood.
Angel - Season Four
As the fourth season of Angel, starts, everything is still as we left it: Angel has been sunk to the bottom of the sea in an iron box by his inexplicable and vindictive son Connor and Cordelia has been summoned to higher realms to await orders. Gunn and Fred are left in the Hyperion Hotel, unsure about what has happened to their friends, and Lilah is working hard to seduce Wesley to the dark side. In the first few episodes, some of this is resolved but it's almost immediately replaced by far worse crises: prophesies of doom accumulate more rapidly even than usual in this wonderfully gloomy show and a horned rock-like beast rains fire on Los Angeles. This last year is Angel’s most tightly dramatic season yet--with a story arc of surprising intensity punctuated by the show's usual wit and sexiness.
Angel - Season Five
Lives were upended--and some co-opted--in the fifth and final season of Angel, as the de! nizens of Angel Investigations found themselves taking on one ! of their scariest endeavors ever: corporate life. After making a literal deal with the devil (or something distinctly devil-like), Angel (David Boreanaz) moved his team from their crumbling hotel to the high-rise digs of law-firm-from-hell Wolfram & Hart, his reasoning being they could better fight the forces of evil from the inside, and with more resources to boot. Clever maneuvering or easy rationalization? Not a few members of Angel's team accused him of selling out (as did a number of viewers), but as with most of the show's previous four seasons, Angel somehow took a dubious premise and mined it for gold. And with one core cast member gone (Charisma Carpenter, whose Cordelia was immersed in a deep coma), it seemed as if the show, from within and without, would suddenly fall apart--that is, until Angel's longtime nemesis Spike (James Marsters) showed up, fresh from his sacrificial roasting at the series finale of Buffy the Vampire Slayer. Let the vampire games begin!
Kidoozie My First Beauty Bag
- A little girl's first beauty bag
- Soft, trendy, travel bag includes fun play accessories
- Includes motorized hair dryer, hand held mirror, 3 curlers, hair brush and curling iron
- Motorized hair dryer makes noise just like a real one
- Cute storage case
Enchanted (Widescreen Edition)
- A fairy tale comes to life in this thoroughly original, new Disney Classic. Drawing inspiration from itsic heritage, Disney creates an inspired story unlike any you've experienced before. Filled with excitement, fun, and incredible music from the legendary Alan Menken, ENCHANTED is the ultimate fish-out-of-water adventure. For princess-to-be Giselle, life is a fairy tale -- until she's ba
Beyond Enchanted
 Disney Princesses on DVD |  Paperback |  Soundtrack |
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Grace Is Gone
- Though 2007 saw a flood of Iraq-related films, GRACE IS GONE takes a different approach from many of the others. Unlike REDACTED and LIONS FOR LAMBS, this directorial debut from screenwriter James C. Strouse (LONESOME JIM) doesn't focus on the conflict itself. Instead, the drama looks at how the death of a female soldier affects her family at home. John Cusack (1408) is Stanley Phillips, a hus
Thursday, November 3, 2011
American Beauty [VHS]
- Condition: Used - Very Good
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Bu! rnham family joins the cinematic short list of great dysfuncti! onal Ame rican families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both! plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam SutherlandNoted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman's turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he's grown cynical and is convinced that he has no reason to go on. Lester's relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she's in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is con! stantly depressed, lacking in self-esteem, and convinced that ! she's un attractive. Her problems aren't helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn't the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harrie! d Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts L! ester into a sexual epiphany that blooms into a second adolesc! ence. An d an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam SutherlandAMERICAN BEAUTY: Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman's turn in The Blue Room, made his motion picture debut with this film about the dark si! de of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he's grown cynical and is convinced that he has no reason to go on. Lester's relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she's in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she's unattractive. Her problems aren't helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn't the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his! life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has ! spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. THE VIRGIN SUICIDES: A dark comedy punctuated by moments of drama, The Virgin Suicides explores the emotional underpinnings of a family starting to come apart at the seams in 1970's Midwestern America. The Lisbons seem like an ordinary enough family; Father (James Woods) teaches math at a high school in Michigan, Mother (Kathleen Turner) has a strong religious faith, and they have five teenage daughters, ranging from 13-year-old Cecilia (Hannah Hall) to 17-year-old Therese (Leslie Hayman). However, the Lisbon family's sense of normalcy is shattered when Cecilia falls into a deep depression and attempts suicide. The family is shaken and Mother and Father seek the advice of psychiatrist Dr. Hornicker (Danny DeVito), who suggest! s the girls should be allowed to socialize more with boys. However, boys soon become a serious problem for Cecilia's sister Lux (Kirsten Dunst). Lux has attracted the eye of a high-school Romeo named Trip (Josh Hartnett), who assures Father of his good intentions. But Cecilia finally makes good on her decision to kill herself, throwing the Lisbons into a panic; and after attending a school dance, Trip seduces and then abandons Lux. The Lisbons pull their daughters out of school, as an emotionally frayed Mother keeps close watch over them. Meanwhile, Lux continues to attract the attentions of the local boys, and she responds with a series of clandestine sexual episodes with random partners as often as she can sneak out of the house. The debut feature from Sofia Coppola (whose father, Francis Ford Coppola, co-produced this film), The Virgin Suicides also features supporting performances from Scott Glenn and Giovanni Ribisi. The film was shown as part of the Directors Fortnigh! t series as the 1999 Cannes Film Festival.From its first glidi! ng aeria l shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Ja! ne (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--! and of blood. --Sam SutherlandFrom its first gliding ae! rial sho t of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (T! hora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and o! f blood. --Sam SutherlandDREAMWORKS, DSL1205, pal 2+4Fr! om its f irst gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.
It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous tee! naged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, th! e color of roses--and of blood. --Sam SutherlandExpande! d & rema stered (HDCD) version of the band's 1970 classic featuring many of the Dead's best-known songs plus 6 bonus tracks 'Truckin' (single version) & 5 live tracks 'Friend of the Devil', 'Candyman', 'Till The Morning Comes', 'Attics of My Life' & 'Truckin'. Digipak. Warner/Rhino. 2003. Who says discipline is a bad thing? No one who's heard American Beauty, the Dead's greatest studio achievement. Showcasing 10 concise, country-rooted gems that sound equally good whether you're hanging on the front porch in the afternoon or nursing a bottle after hours, this one could win over many an anti-Jerry. Bewildered by loss both personal and social--the hippie dream was quickly crashing by Beauty's 1970 release date--the band put its querulousness ("Box of Rain") and wry humor ("Truckin'") into the service of a masterwork. The most impressive cut of all may be "Ripple," Garcia's spiritual credo. --Rickey Wright Who says discipline is a bad thing? No one who's heard! American Beauty, the Dead's greatest studio achievement. Showcasing 10 concise, country-rooted gems that sound equally good whether you're hanging on the front porch in the afternoon or nursing a bottle after hours, this one could win over many an anti-Jerry. Bewildered by loss both personal and social--the hippie dream was quickly crashing by Beauty's 1970 release date--the band put its querulousness ("Box of Rain") and wry humor ("Truckin'") into the service of a masterwork. The most impressive cut of all may be "Ripple," Garcia's spiritual credo. --Rickey WrightFrom its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells ! us his story from beyond the grave.
It's an audacious start! for a f ilm that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.
Credit another big-screen newcomer, English theatrical director Sam Mendes,! with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam Sutherland
Dead Man's Shoes
- Richard (Paddy Considine) has always protected his simple-minded little brother Anthony (Toby Kebbell). When Richard leaves the rural village where they have grown up to join the army, Anthony is taken in by Sonny (Gary Stretch), a controlling and vicious local drug dealer and his gang of lads. Anthony becomes the gang's pet and plaything. Seven years later, Richard returns to settle the score. De
Monster High Dead Tired Frankie Stein Doll
- Get together for a sleepover and some scary fun ghoul time
- These dolls are dead tired and in need of a little rest and relaxation
- The trendiest ghouls at Monster High in their stylish sleepover fashions
- Doll is fully articulated so they can be posed in many different ways
- Includes Frankie Stein doll with eye mask, Dead Tired outfit and accessory for the sleepover
Monster High Dead Tired Frankie Stein Doll
Meet the coolest children of some of history's most infamously famous Monsters in the Monster High Dead Tired Doll Collection. Frankie Stein is the daughter of the infamous Frankenstein. After a long week at school, the girls are dead tired and in need of a little rest and relaxation. These are the trendiest ghouls at Monster High in their stylish sleepover fashions. They get together for a sleepover and some scary fun ghoul time. The colle! ction includes a doll with eye mask, Dead Tired outfit and accessory for the sleepover. The dolls are fully articulated so they can be posed in many different ways. Each doll is sold separately.
- Product Dimensions: 5.5 (L) x 2.75 (W) x 13 (H)
- Age: 6 years and up
