Thursday, November 10, 2011

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What if the person you desired most was the one person you were forbidden to love? OscarÂ(r) winner* Tim Robbins and OscarÂ(r) nominee** Samantha Morton "make a sexy and moving pair of desperadoes" (Entertainment Weekly) in this "provocative, quietly erotic" (Premiere)sci-fi thriller from the director of 24 Hour Party People. In the near future, privileged classes live and work "inside" cities, while non-citizens scratch out a miserable existence "outside" in a vast desert. People cannot leave their designated zones without special visas known as"papeles." When fraudulent papeles surface, Seattle investigator William Geld (Robbins) travels to Shanghai to ferret out the culprit and meets Maria Gonzalez (Morton) a woman with whom he has a passionate affair but breaks one of society's harshest laws: Code 46. *2003: Suppo! rting Actor, Mystic River **2003: Actress, In America; 1999: Supporting Actress, Sweet and LowdownGATTACA - DVD MovieCode 46 is a love story set in a Brave New World-type near-future where cities are heavily controlled and only accessible through checkpoints. People cannot travel unless they have "papelles," a special travel permit issued by the totalitarianistic government, the "Sphinx". Outside these cities, the desert has taken over and shanty towns are jammed with non-citizens - people without papelles forced to live primitive lives. William is a family man who works as a government investigator. When he is sent to Shanghai to solve a case of fake papelles, he meets a woman named Maria. Although he realizes she is behind the forgeries, he cannot help but fall completely in love with her. He hides her crime and they have a wild, passionate affair that can only last as long as his papelles: 24 hours. Back home, William is obessed with the memory of Maria. When the origin! al investigation is inevitably re-opened a week later and Will! iam is s ent back to finish the work he started...What if the person you desired most was the one person you were forbidden to love? OscarÂ(r) winner* Tim Robbins and OscarÂ(r) nominee** Samantha Morton "make a sexy and moving pair of desperadoes" (Entertainment Weekly) in this "provocative, quietly erotic" (Premiere)sci-fi thriller from the director of 24 Hour Party People. In the near future, privileged classes live and work "inside" cities, while non-citizens scratch out a miserable existence "outside" in a vast desert. People cannot leave their designated zones without special visas known as"papeles." When fraudulent papeles surface, Seattle investigator William Geld (Robbins) travels to Shanghai to ferret out the culprit and meets Maria Gonzalez (Morton) a woman with whom he has a passionate affair but breaks one of society's harshest laws: Code 46. *2003: Supporting Actor, Mystic River **2003: Actress, In America; 1999: Supporting Actress, Sweet and LowdownLike Gattaca did before it, Code 46 extrapolates from the present to posit a chilling, dystopian look at our genetically regimented future. In the corporate-controlled, near-future scenario presented by prolific director Michael Winterbottom and his regular screenwriter Frank Cottrell Boyce, nations and languages have merged to form a polyglot society in which genetic imperfections are avoided by the strict enforcement of Code 46, which prohibits sex between people who share 100%, 50%, or even 25% matching DNA. As an insurance-fraud investigator in Shanghai to investigate the issuance of forged passports (a major offense in an overcrowded world), Tim Robbins meets his prime suspect (Samantha Morton, echoing her role in Minority Report), and their violation of Code 46 has tragic and ultimately dehumanizing repercussions. Fascinating as a "what-if" scenario, Winterbottom's film is more successful as a melancholy mood-piece than a science-fiction tale. While the plot and ! characters suffer from occasionally vague definition, Code ! 46 o ffers a fascinating study of human longing in an age of oppressive globalization. --Jeff ShannonIn the brutal World War II Battle of Saipan, Sergeant Joe Enders (Academy AwardÂ(r) winner*Nicolas Cage) guardsand ultimately befriendsBen Yahzee (Adam Beach), a young Navajo trained in the one wartime code never broken by the enemy, the Navajo Code. But if Yahzee should fall into Japanese hands, how far will Enders go to save the military's most powerful secret? John Woodirects this "exciting" (Premiere),Having earned Hollywood's respect with blockbusters like Face/Off and Mission: Impossible 2, Hong Kong action master John Woo lends his signature style to serious World War II action in Windtalkers. Recognizing the long-forgotten contribution of Navajo "code talkers," whose use of an unbreakable Navajo-language radio code was instrumental in defeating the Japanese, the film serves as an admirable tribute to those Native American heroes. Unfortunatel! y, it falls short of importance with its standard-issue story about a battle-scarred sergeant (Nicolas Cage) assigned to protect a code-talker (Adam Beach, from Smoke Signals), with unspoken orders to kill him if Japanese capture is imminent. This allows for an involving drama of hard-won friendship, but cardboard supporting characters suffer in the shadow of nonstop action that's as repetitious as it is technically impressive. Windtalkers is best appreciated as a more substantial vehicle for Woo's trademark ballet of bullets. --Jeff ShannonShort sleeve men's t-shirt with logo on the front

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Overworked Manhattan coffee shop waitress Bella isn't looking forward to her 35th birthday. Stuck in a relationship with a married man for far too long, Bella takes a chance on frustrated novelist/taxi driver Bruno. Determined not to scare yet another man off with her dreams of marriage and family, Bella plays it cool and tells Bruno she hates children. A tough break for the womanizer since his ex-wife has just dumped two small children on him ... In her coffee shop world, Bella witnesses she's not alone in the bittersweet battle against romance's difficulties. Shy widower Paul struggles through the tender courtship of lively widow Emily. Ornery old Seymour gets a magical shot of youth when he falls for a sexy exotic dancer. Despite love's accompanying twists and turns, everyone holds out for the best. And the persistent Bella discover! s fairy tales can come true...even in New York City. Louise Lasser and Robert Modicka put their hearts into the story of a 60-ish couple trying to make a go of it, regardless of his friends' ridicule and her low self-esteem. Their honest acting nearly gives this failed attempt at a Woody Allen-style episode of Friends needed humanity. The problem? Lasser and Modicka are not the lead actors in this film, whose tritely punning title is about the extent of writer-director Amos Kollek's wit. Anna Thomson is the ostensible heroine in this story about the denizens of a New York City diner and their romantic travails. The 35-year-old waitress, unlucky in life and love, seems such a candidate for long-term therapy that her unconventional outlook isn't so much profoundly sympathetic as simply pathetic. Kollek also stretches credulity by allowing a sex-show performer to melt at the badgering appearances of one of her "clients," the creepiest of the whole lot. --Kevin Filips! kiALL NEW ZOMBIE SHIRT PRINTED ON HQ FIBER COTTON. IF YOU ! LOVE ZOM BIES, THIS IS A MUST HAVE!

Borat [Blu-ray]

  • Blu-ray, Region-free
  • UK Import
Kazakh journalist Borat Sagdiyev travels to America to make a documentary, ultimately exposing prejudices and hypocrisies in American culture.
Genre: Feature Film-Comedy
Rating: R
Release Date: 9-OCT-2007
Media Type: DVDSacha Baron Cohen brings his Kazakh journalist character Borat Sagdiyev to the big screen for the first time. Leaving his native Kazakhstan, Borat travels to America to make a documentary. As he zigzags across the nation, Borat meets real people in real situations with hysterical consequences. His backwards behavior generates strong reactions around him exposing prejudices and hypocrisies in American culture.

It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is not "something for eve! ryone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show), leaves his humble village to come to "U.S. of A" to film a documentary. After catching an episode of Baywatch in his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat, hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Borat is not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a ! la Alan Funt on Candid Camera, in the act of being them! selves. Early on, an unwitting humor coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronizingly offers), or turns cheers to boos at! a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner."

Success, John F. Kennedy once said, has a thousand fathers. A paternity test on Borat might reveal traces of Bill Dana's Jose Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have ! been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Borat it can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! --Donald Liebenson

On the DVD
"Global Visitings" captures Borat-mania in all its hype and glory, as Sacha Baron Cohen, never breaking character, promotes his film around the world. On the itinerary is Late Night with Conan O'Brien and the Toronto Film Festi! val, a now-legendary screening aborted after a projector malfu! nction. A mixed bag of deleted scenes finds Borat trying to bait more unsuspecting citizens, including an animal-control worker who refuses Borat a dog after he asks, "How do you recommend I cook this?" and a doctor who is nonplussed by Borat's obscene medical history. A supermarket visit offers the most maddening fromage-inspired looniness since Monty Python's "Cheese Shop" sketch. Also good for a few chuckles are a faux soundtrack commercial and Baywatch parody ("Sexydangerwatch"). --Donald Liebenson


Beyond Borat


All things Sacha Baron Cohen

Borat Apparel

Borat Soundtrack

Stills from Borat (click for larger image)




Borat Sagdiyev, Kazakhstan's sixth most famous man and a leading journalist from the State run TV network, travels from his home in Kazakhstan to the U.S. to make a documentary. O! n his cross-country road-trip, Borat meets real people in real! situati ons with hysterical consequences.It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is not "something for everyone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show), leaves his humble village to come to "U.S. and A" to film a documentary. After catching an episode of Baywatch in his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat, hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Borat is not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards! attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a la Alan Funt on Candid Camera, in the act of being themselves. Early on, an unwitting humor coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronizingly offers), or turns cheers to boos at a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner."

Success, John F. Kennedy once said, has a thousand fathers. A! paternity test on Borat might reveal traces of Bill Da! na's Jos e Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Borat it can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! --Donald Liebenson

Freakonomics: A Rogue Economist Explores the Hidden Side of Everything (P.S.)

  • ISBN13: 9780060731335
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Which is more dangerous, a gun or a swimming pool?

What do schoolteachers and sumo wrestlers have in common?

How much do parents really matter?

These may not sound like typical questions for an economist to ask. But Steven D. Levitt is not a typical economist. He studies the riddles of everyday lifeâ€"from cheating and crime to parenting and sportsâ€"and reaches conclusions that turn conventional wisdom on its head.

Freakonomics is a groundbreaking collaboration between Levitt and Stephen J. Dubner, an award-winning author and journalist. They set out to explore the inner workings of a crack gang, the truth about real estate agents, the se! crets of the Ku Klux Klan, and much more.

Through forceful storytelling and wry insight, they show that economics is, at root, the study of incentivesâ€"how people get what they want or need, especially when other people want or need the same thing.

Economics is not widely considered to be one of the sexier sciences. The annual Nobel Prize winner in that field never receives as much publicity as his or her compatriots in peace, literature, or physics. But if such slights are based on the notion that economics is dull, or that economists are concerned only with finance itself, Steven D. Levitt will change some minds. In Freakonomics (written with Stephen J. Dubner), Levitt argues that many apparent mysteries of everyday life don't need to be so mysterious: they could be illuminated and made even more fascinating by asking the right questions and drawing connections. For example, Levitt traces the drop in violent crime rates to a drop in violent crimi! nals and, digging further, to the Roe v. Wade decision that pr! eempted the existence of some people who would be born to poverty and hardship. Elsewhere, by analyzing data gathered from inner-city Chicago drug-dealing gangs, Levitt outlines a corporate structure much like McDonald's, where the top bosses make great money while scores of underlings make something below minimum wage. And in a section that may alarm or relieve worried parents, Levitt argues that parenting methods don't really matter much and that a backyard swimming pool is much more dangerous than a gun. These enlightening chapters are separated by effusive passages from Dubner's 2003 profile of Levitt in The New York Times Magazine, which led to the book being written. In a book filled with bold logic, such back-patting veers Freakonomics, however briefly, away from what Levitt actually has to say. Although maybe there's a good economic reason for that too, and we're just not getting it yet. --John Moe

House of Sand and Fog

  • ISBN13: 9780393338119
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Filmed entirely on the magnificent, sandy coast of northern Brazil, Áurea's saga begins in 1910, in Maranhão, where her fanatical husband has relocated his family to start a farm. Desperate and pregnant, Áurea (Fernanda Torres) longs to return to the city, but cannot traverse the dunes with her aging mother, Maria (Fernanda Montenegro) in tow. When calamity strikes, the two women find themselves stranded. Eventually, they settle among the shifting sands and Áurea finds peace. But her passionate daughter, Maria, longs to explore the world beyond the dunes. This profound portrait of passing generations has established Andrucha Waddington as one of the most exciting directors in Brazil today.The lands! cape looks like the surface of the moon. Set in Brazil's Maranhão desert, House of Sand follows three generations of women, from 1910 to 1969, as they eke out a living from this hostile environment. Oafish Vasco (director Ruy Guerra) brings pregnant wife Áurea (Fernanda Torres) and her mother, Dona Maria (Fernanda Montenegro, Central Station), from the city to make a new start. Shortly after they arrive, fate takes him out of the picture. Mother and daughter muddle through with the help of slave descendents. Wary at first, Massu (Seu Jorge, City of God) takes a particular shine to the duo. The story then skips ahead to 1919, when an escape route materializes. There will be two more shifts in time. By 1942, Áurea's daughter, Maria (Torres), has grown into impetuous womanhood, while Áurea (Montenegro) and Massu (Luiz Melodia) have settled into middle age. In the final section, set during the year of the first lunar landing, Áurea (Montenegro) is arou! nd the same age as her mother at the start of the film. With t! he excep tion of Camilla Facundes as nine-year-old Maria, Torres and her real-life mother assume every female role. What does it all mean? Andrucha Waddington (Me You Them) doesn't burden his enigmatic epic with a singular message, but those who appreciate dust-swept dramas like Woman in the Dunes and Walkabout aren't likely to hold it against him. The point seems to be that the human--especially the female--capacity for survival knows no bounds. --Kathleen C. Fennessy

Stills from House of Sand (click for larger image)







The National Book Award finalist, Oprah Book Club pick, #1 New York Times bestseller and basis for the Oscar-nominated motion picture.

A former colonel in the Iranian Air Force yearns to restore his family's dignity. A recovering alcoholic and addict down on her luck struggles to hold on to the one thing she has left. And her lover, a married cop, is dr! iven to extremes to win her love.

In this mas! terpiece of American realism and Shakespearean consequence, Andre Dubus III's unforgettable charactersâ€"people with ordinary flaws, looking for a small piece of ground to stand onâ€"careen toward inevitable conflict, their tragedy painting a shockingly true picture of the country we live in today.Oprah Book Club® Selection, November 2000: Andre Dubus III wastes no time in capturing the dark side of the immigrant experience in America at the end of the 20th century. House of Sand and Fog opens with a highway crew composed of several nationalities picking up litter on a hot California summer day. Massoud Amir Behrani, a former colonel in the Iranian military under the Shah, reflects on his job-search efforts since arriving in the U.S. four years before: "I have spent hundreds of dollars copying my credentials; I have worn my French suits and my Italian shoes to hand-deliver my qualifications; I have waited and then called back after the correct waiting time; ! but there is nothing." The father of two, Behrani has spent most of the money he brought with him from Iran on an apartment and furnishings that are too expensive, desperately trying to keep up appearances in order to enhance his daughter's chances of making a good marriage. Now the daughter is married, and on impulse he sinks his remaining funds into a house he buys at auction, thus unwittingly putting himself and his family on a trajectory to disaster. The house, it seems, once belonged to Kathy Nicolo, a self-destructive alcoholic who wants it back. What starts out as a legal tussle soon escalates into a personal confrontation--with dire results.

Dubus tells his tragic tale from the viewpoints of the two main adversaries, Behrani and Kathy. To both of them, the house represents something more than just a place to live. For the colonel, it is a foot in the door of the American dream; for Kathy, a reminder of a kinder, gentler past. In prose that is ! simple yet evocative, House of Sand and Fog builds to ! its inev itable denouement, one that is painfully dark but unfailingly honest. --Alix Wilber

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Bent: The Play

  • Published by Applause Books 80 Pages
  • The Play by Martin Sherman
  • Author: Martin Sherman
Renowned British stage director Sean Mathias directs Martin Sherman's "powerful and provocative" (The New York Times) screenplay about one man's struggle to maintain his dignity while imprisoned in a Nazi concentration camp. Featuring exceptional performances by Lothaire Bluteau (Black Robe), Clive Owen (Gosford Park), Brian Webber, Ian McKellen (The Lord of the Rings: TheFellowship of the Ring) and Mick Jagger, Bent will "grab filmgoers by the heart" (Rex Reed)! Max (Owen) is a handsome young man who, after a fateful tryst with a German soldier, is forced to run for his life. Pursued and captured, Max is placed in a concentration camp where he pretends to be Jewishbecause in the eyes of the Nazis, gays are the lowest form of human being. But it takes a forbidden relationship with an openly! gay prisoner to teach Max that without the love of another, life is not worth living.Bent debuted onstage in 1979 with Ian McKellen starring in the London production and Richard Gere in its later Broadway version. The film version is adapted by the playwright, Martin Sherman, and closely follows his play's story of two gay concentration camp victims who are sent to Dachau and who fall in love, using their relationship as an emotional crutch in their efforts to rebuff the horror of the Holocaust. Max (Clive Owen), would rather wear a yellow star and proclaim himself a Jew than be lanced with the pink triangle that designates homosexuality. Horst, (Lothaire Bluteau) chastises him for his homophobia. Later the tables turn on Max, who finds--through Horst--the strength both to keep alive indefinitely and to ultimately embrace his sexual identity.

Initially set in a war-ravaged Berlin, Bent is directed by Sean Mathias, who first directed Jude Law in Indiscretions, and he has crafted a film that reminds on! e of Ian McKellen's Richard III with its spare, stylized, and stark world bombed into rubble and chic theatrical disarray. There are many poignant as well as harrowing scenes, and the result is a somber work that stands as a reminder that intolerance cannot overtake individualism and love. While Bent received an NC-17 rating for depicting Berlin's decadent, anything-goes-for-a-price nightlife, MGM opted not to edit out the tone-setting prelude and pushed to preserve the film's integrity despite a rating that is itself a kind of death for any film that bears it. --Paula NechakMartin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But ver! y little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.