Lake Dead - After Dark Horror Fest

• Actors: Tara Gerard, Vanessa Viola, Kelsey Wedeen, Alex A. Quinn, Kelsey Crane
• Format: AC-3, Closed-captioned, Color, Dolby, DVD, Subtitled, Widescreen, NTSC
• Language: English / Subtitles: English, Spanish
• Region: Region 1 (U.S. and Canada only).
• Not Rated. Run Time: 90 minutes.

AFTER DARK HORRORFEST - DVD MovieMonsters are on the minds of the eight directors whose films comprise the 2007 After Dark HorrorFest, which arrives on DVD in an eight-disc set as well as single-disc editions. And it's interesting to note that while there are plenty of traditional monsters on display, from the vengeful spirits of Crazy Eights and Nightmare Man to the rampaging alien in Unearthed, the majority of the creatures causing havoc in the 2007 HorrorFest are all too human, which underscores one of the key functions of the horror genre: to give a face to soci! ety's darkest and most pressing fears. The best showcase for these human beasts is Jim Mickle's urban creepshow Mulberry Street, which details the outbreak of a rat-borne virus that turns New York City residents into rodent-like mutants. The monsters themselves are actually the least effective part of the film; rather, it's Mickle's ability to create both a slow-boiling panic and believable characters on a shoestring budget that gives his picture the advantage over the others in the fest. Less agreeable is Borderland, a well-photographed but mildly xenophobic splatterfest about American college students who run afoul of bloodthirsty Mexican Satanists, while Lake Dead and Tooth and Nail recycle overly familiar horror tropes (mutant hillbillies vs. city folk in , and cannibals vs. apocalypse survivors in Tooth). Of the two, Tooth is the more appealing thanks to its name cast (Michael Madsen, Robert Carradine, Vinnie Jo! nes), while Lake offers little more than unrelieved sad! ism and sexual violence.

The Deaths of Ian Stone offers the fest's most intriguing premise--after a terrible accident, a young man (Mike Vogel of Cloverfield) discovers that he is being reborn as different people, only to suffer an even worse fate with each reincarnation--though the reasons for his condition and the introduction of monsters to the story are ill-conceived and ill-advised. As for the remaining titles, Unearthed is simply Alien in the desert (ground already covered with panache by Feast), while Nightmare Man is a HD-lensed supernatural slasher from the usually reliable Rolfe Kanefsky (The Hazing) that's enlivened only by the presence of B-movie stalwart Tiffany Shepis. With so much varying quality in the entries, what the 2007 HorrorFest needed was a rock-solid entry by an established talent, like Nacho Cerda's The Abandoned and Takashi Shimuzi's Reincarnation, which gave some spark to the 2006 festival.! Judging by the tepid box office response to this series, stronger names or more careful selection of titles will be necessary for the HorrorFest to remain an annual event. Unlike the 2006 HorrorFest DVD releases, only a handful of the 2007 festival's discs offer extras. It seems odd that two of the weakest entries--Borderland and Nightmare Man--are the only discs to feature substantial supplemental features, including director and cast commentary, deleted scenes, and making-of featurettes, as well as a short documentary on Borderland about the true-life crimes that inspired the film. However, Nightmare Man's extras have a distinct edge thanks to the participation of Shepis, who brings a salty sense of humor to the commentary and also directs an amusing making-of featurette that elicits funny (and honest) responses from the cast and crew. Included on every disc are The Miss HorrorFest Webisodes, a wan collection of reality show-style vignettes th! at follow a contest to find the festival's new, scantily clad ! spokesmo del. -- Paul GaitaLAKE DEAD - DVD Movie

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Hilary and Jackie Movie Emily Watson Rachel Griffiths Original Poster- 27x40 custom fit with RichAndFramous Black 27 inch Poster Hangers

• Poster Hanger framing is economical and attractive
• No metal clips to damage posters! Hangers included EZ-Hang 8mm hole on back-side.
• Includes Poster with 2 custom fit Poster Hangers for hanging
• Premium Quality RichAndFramous Poster Hangers in matte black to match any decor
• Poster Hangers made in USA of strong, lightweight resin for years of use

HILARY AND JACKIE - DVD MovieIt earned Oscar nods, yet this cinematic look at a genius--that of English cellist Jacqueline du Pré, who enraptured audiences with her bold, emblazoned, and wholly unconventional playing style, and who died at age 42--was criticized for its "lapses" in truth by people who purportedly knew du Pré. Some of the controversy revolved around the other main character in Anand Tucker's gorgeous, involving movie--du Pré's sister, Hilary, whose book, A Genius in the Family (cowritt! en with brother Piers), dished some dirt on Jackie's sleeping with Hilary's husband. But don't let that deter you from this ebullient movie experience. The film is a bisected story (each sister's tale is told in the same amount of screen time) teeming with heartfelt drama that belies the cheap shots it received from its detractors. It's stirring, reckless, loving, involving, and rife with unconventional passion; passion for music, life, art, and the delicate relationship between these two synchronous, extraordinary sisters as played by brilliant actors Emily Watson and Rachel Griffiths (both of whom earned Oscar nods). Though Watson got the juicy, showy role as Jackie, it's Griffiths who provides the heart, soul, and spine of the film. And director Tucker has that gift of being able to explain through the visual medium what is happening inside of his character's heads. He's helped by a fine screenplay by Frank Boyce Cottrell. No matter what the truth of Hilary ! and Jackie might really be, this is an exceptional, rare film! that is defined and graced by fine acting and writing. --Paula NechakIt earned Oscar nods, yet this cinematic look at a genius--that of English cellist Jacqueline du Pré, who enraptured audiences with her bold, emblazoned, and wholly unconventional playing style, and who died at age 42--was criticized for its "lapses" in truth by people who purportedly knew du Pré. Some of the controversy revolved around the other main character in Anand Tucker's gorgeous, involving movie--du Pré's sister, Hilary, whose book, A Genius in the Family (cowritten with brother Piers), dished some dirt on Jackie's sleeping with Hilary's husband. But don't let that deter you from this ebullient movie experience. The film is a bisected story (each sister's tale is told in the same amount of screen time) teeming with heartfelt drama that belies the cheap shots it received from its detractors. It's stirring, reckless, loving, involving, and rife with unconventional passion; p! assion for music, life, art, and the delicate relationship between these two synchronous, extraordinary sisters as played by brilliant actors Emily Watson and Rachel Griffiths (both of whom earned Oscar nods). Though Watson got the juicy, showy role as Jackie, it's Griffiths who provides the heart, soul, and spine of the film. And director Tucker has that gift of being able to explain through the visual medium what is happening inside of his character's heads. He's helped by a fine screenplay by Frank Boyce Cottrell. No matter what the truth of Hilary and Jackie might really be, this is an exceptional, rare film that is defined and graced by fine acting and writing. --Paula NechakFrom the moment Jacqueline du Pré first held a cello at the age of five, it was clear she had an extraordinary gift. At sixteen, when she made her professional debut, she was hailed as one of the world's most talented and exciting musicians. But ten years later, she stopped playing ! virtually overnight, when multiple sclerosis removed the feeli! ng in he r hands just before a concert. It took fourteen more years for the crippling disease to take its final toll.

In this uniquely revealing biography, Hilary and Piers du Pré have re-created the life they shared with their sister in astonishing personal detail, unveiling the private world behind the public face. With warmth and candor they recount Jackie's blissful love of the cello, her marriage to the conductor Daniel Barenboim, her compulsions, her suffering, and, above all, the price exacted by her talent on the whole family. For proud as they were of Jackie's enormous success, none of them was prepared for the profound impact her genius would have on each of their lives. . . .Jacqueline du Pré saw the outlines of her short, brilliant, and tragic life when she was still very young. The first time she heard a cello (she was 4 years old), she said, "Mummy, I want to make that sound." She got a cello for her 5th birthday and made her professional debut at age 16. S! he went on to become one of the century's most amazing musicians for 10 years. Then her career was ended by multiple sclerosis. She seems to have foreseen that crippling illness, which killed her at age 42 after years of slow deterioration. She was 9 years old when she confided in her sister, Hilary (who coauthored this biography with their brother, Piers), "Don't tell Mum, but... when I grow up, I won't be able to walk or move." Before she was stricken down, Jacqueline du Pré led a life of unusual richness and complexity. Here that life is examined by her siblings in loving but realistic terms, including the flaws and conflicts as well as the achievements.

The biography formed the basis for the 1998 film starring Emily Watson. It is a sad chronicle of the pitiless disease that twisted Jackie's personality and sanity as well as her body, but also a joyful book about music, the tenderness and rivalries of family life, and above all a singular, tormented! , but buoyant personality. --Joe McLellan As might be! expecte d, the soundtrack to Hilary and Jackie plays a highly prominent role in this film about the emotionally fraught relationship between two gifted sisters, one of whom is the brilliant cellist Jacqueline Du Pré. Certainly composer Barrington Pheloung--whose credits include the Inspector Morse series and the evocative score to Truly, Madly, Deeply--faced a heady challenge in writing music to be heard alongside Du Pré's rhapsodic, signature interpretation of the Edward Elgar Cello Concerto, not to mention other classical selections. Even so, the resonantly autumnal, neo-Romantic flavor of his score aptly mirrors the narrative's flashback-oriented technique. His insistence on the cello's urgent high register (played by soloist Caroline Dale) creates a poignant musical portrait of its tragically stricken protagonist. Most of the CD, however, is given to the entire Elgar concerto--an especially effective choice as against the usual potpourri of classica! l snippets. This charged, elegiac, and easily accessible work--Elgar's own valedictory composition for orchestra--becomes a sort of musical metaphor for Du Pré's emotional journey and gains from being heard in its full context. While the performance featured here is conducted by husband Daniel Barenboim, you'll probably be inspired to try Du Pré's never-bettered version of the Elgar on EMI with John Barbirolli. --Thomas MayIt earned Oscar nods, yet this cinematic look at a genius--that of English cellist Jacqueline du Pré, who enraptured audiences with her bold, emblazoned, and wholly unconventional playing style, and who died at age 42--was criticized for its "lapses" in truth by people who purportedly knew du Pré. Some of the controversy revolved around the other main character in Anand Tucker's gorgeous, involving movie--du Pré's sister, Hilary, whose book, A Genius in the Family (cowritten with brother Piers), dished some dirt on Jackie's s! leeping with Hilary's husband. But don't let that deter you f! rom this ebullient movie experience. The film is a bisected story (each sister's tale is told in the same amount of screen time) teeming with heartfelt drama that belies the cheap shots it received from its detractors. It's stirring, reckless, loving, involving, and rife with unconventional passion; passion for music, life, art, and the delicate relationship between these two synchronous, extraordinary sisters as played by brilliant actors Emily Watson and Rachel Griffiths (both of whom earned Oscar nods). Though Watson got the juicy, showy role as Jackie, it's Griffiths who provides the heart, soul, and spine of the film. And director Tucker has that gift of being able to explain through the visual medium what is happening inside of his character's heads. He's helped by a fine screenplay by Frank Boyce Cottrell. No matter what the truth of Hilary and Jackie might really be, this is an exceptional, rare film that is defined and graced by fine acting and writing. --Pau! la NechakAddresses issues of concern in the area of women's studies, aiming to offer fresh perspectives on sexuality, paid work, the development process, equal opportunities legislation, lesbian history and women's writing. The book is also concerned with the politics and practice of women's studies.Addresses issues of concern in the area of women's studies, aiming to offer fresh perspectives on sexuality, paid work, the development process, equal opportunities legislation, lesbian history and women's writing. The book is also concerned with the politics and practice of women's studies.Hilary and Jackie is a 1998 British biographical film directed by Anand Tucker. The screenplay by Frank Cottrell Boyce is based on the memoir A Genius in the Family by Piers and Hilary du Pré, which chronicles the life and career of their late sister, cellist Jacqueline du Pré. The film attracted controversy and criticism for allegedly distorting details in Jacqueline's life, although H! ilary du Pré publicly defended her version of the story.

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Precious: Based on the Novel "Push" by Sapphire

• Condition: Used, Very Good
• Format: DVD
• AC-3; Closed-captioned; Color; Dolby; DVD; Subtitled; Widescreen; NTSC

Chris Rock visits beauty salons and hairstyling battles, scientific laboratories and Indian temples to explore the way hairstyles impact the activities, pocketbooks, sexual relationships, and self-esteem of the black community in this exposé of comic proportions that only he could pull off. A raucous adventure prompted by Rock’s daughter approaching him and asking, "Daddy, how come I don’t have good hair?”, GOOD HAIR shows Chris Rock engaging in frank, funny conversations with hair-care professionals, beauty shop and barbershop patrons, and celebrities including Ice-T, Nia Long, Paul Mooney, Raven Symoné, Dr. Maya Angelou, Salt-N-Pepa, Eve and Reverend Al Sharpton â€" all while he struggles with the task of figuring out how to respond to his daughter's question! .When one of Chris Rock's young daughters asked him an innocent question about having "good hair," the comedian probably had no idea just how complicated the answer would be. Fortunately for us, he decided to find out, and the result is this funny, informative, and highly entertaining documentary of the same name. Turns out that for a great many African-American women (and quite a few men, too), "good hair" means "white hair"--i.e., straight and lanky--while the natural or "nappy" look is bad. And oh, the lengths and expense women will go to in order to get "good hair"! In the course of the film, which was directed by Jeff Stilson and cowritten by Rock and several others, Rock first travels to Atlanta, home of the Bronner Brothers Hair Show, where thousands of folks buy and learn how to use new products (the show is also the site of the outrageous and climactic Hair Battle Royale, in which four stylists compete for money and fame). It's there that he learns about sodium hyd! roxide, better known as hair "relaxer," the "nap antidote," or! the "cr eamy crack" (as effective as the chemical substance is for straightening hair, it can also be highly dangerous). In Harlem and Los Angeles, he investigates the extraordinary popularity of hair weaves, which can cost tens of thousands of dollars annually to create and maintain; Rock even goes to Madras, India, source of most of the hair used in weaves (for Indian women, tonsure, or shaving their heads, is a ritual act of self-sacrifice). Along the way, Rock interviews a great many young women with fabulous hair (including actresses Nia Long, Raven-Symoné, and Kerry Washington, and rappers Salt-N-Pepa), but he also talks to the esteemed poet Maya Angelou, as well as men like rapper-actor Ice-T and the Reverend Al Sharpton. Sharpton, who is very amusing (he's referred to as "the Dalai Lama of relaxed hair"), is about the only celeb who touches on racial issues, pointing out that while it's African Americans who use the overwhelming majority of these hair products, the companie! s who sell them tend to be owned by Asians. Some viewers may object to the film's lack of a strong socio-political stance, but others will no doubt prefer the lighter touch, including a hilarious discussion at a barber shop about dating women with hair weaves (basically, it's "hands off the hair, pal"). --Sam Graham

When one of Chris Rock's young daughters asked him an innocent question about having "good hair," the comedian probably had no idea just how complicated the answer would be. Fortunately for us, he decided to find out, and the result is this funny, informative, and highly entertaining documentary of the same name. Turns out that for a great many African-American women (and quite a few men, too), "good hair" means "white hair"--i.e., straight and lanky--while the natural or "nappy" look is bad. And oh, the lengths and expense women will go to in order to get "good hair"! In the course of the film, which was directed by Jeff Stilson and cowritten by Rock and several others, Rock first travels to Atlanta, home of the Bronner Brothers Hair Show, where thousands of folks buy and learn how to use new products (the show is also the site of the outrageou! s and climactic Hair Battle Royale, in which four stylists compete for money and fame). It's there that he learns about sodium hydroxide, better known as hair "relaxer," the "nap antidote," or the "creamy crack" (as effective as the chemical substance is for straightening hair, it can also be highly dangerous). In Harlem and Los Angeles, he investigates the extraordinary popularity of hair weaves, which can cost tens of thousands of dollars annually to create and maintain; Rock even goes to Madras, India, source of most of the hair used in weaves (for Indian women, tonsure, or shaving their heads, is a ritual act of self-sacrifice). Along the way, Rock interviews a great many young women with fabulous hair (including actresses Nia Long, Raven-Symoné, and Kerry Washington, and rappers Salt-N-Pepa), but he also talks to the esteemed poet Maya Angelou, as well as men like rapper-actor Ice-T and the Reverend Al Sharpton. Sharpton, who is very amusing (he's referred to as "the ! Dalai Lama of relaxed hair"), is about the only celeb who touc! hes on r acial issues, pointing out that while it's African Americans who use the overwhelming majority of these hair products, the companies who sell them tend to be owned by Asians. Some viewers may object to the film's lack of a strong socio-political stance, but others will no doubt prefer the lighter touch, including a hilarious discussion at a barber shop about dating women with hair weaves (basically, it's "hands off the hair, pal"). --Sam Graham

Precious Jones, an inner-city high school girl, is illiterate, overweight, and pregnant…again. Naïve and abused, Precious responds to a glimmer of hope when a door is opened by an alternative-school teacher. She is faced with the choice to follow opportunity and test her own boundaries. Prepare for shock, revelation and celebration.Not every movie can survive the kind of hype--multiple awards at Sundance and other festivals, rapturous reviews, nominated for six Academy Awards and winner of two, for Best Supporting Actress and Best Screenplay--that greeted the release of Precious: Based on the Novel "Push" by Sapphire, but this extraordi! nary piece of work is more than up to the task. What's particu! larly no table about the film's success and acclaim is that in the beginning, at least, it presents one of the grimmest scenarios imaginable. The scene is Harlem, New York, in 1987. Teenager Clarisse Precious Jones (played by newcomer Gabourey Sibide in an absolutely fearless performance) is dirt poor, morbidly obese, semiliterate, and pregnant for the second time--both courtesy of her own father (the first baby was born with Down syndrome). Her home life is several levels below Hell, as her bitter, vengeful welfare mother, Mary (Mo'Nique, in a role that has generated legitimate Oscar® buzz), abuses her both physically and otherwise (telling Precious she should have aborted her is only the worst of a relentless flood of insults and vitriol). Yet somehow, the young woman still has hopes and dreams (depicted in a series of delightful fantasy sequences). She enrolls in an alternative school, where a young teacher (Paula Patton) takes her under her wing and even into her home, and visit! s a social worker (an excellent Mariah Carey; fellow pop star Lenny Kravitz is also effective as a male nurse) who further helps bring Precious out of the darkness. Incredibly, Precious's circumstances deteriorate even more before showing the slightest sign of improvement, and a climactic confrontation with her mother is one of the more wrenching scenes in recent memory. But against all odds, director Lee Daniels, screenwriter Geoffrey Fletcher (working from Sapphire's novel), and especially the wondrously affecting Sibide have managed to make Precious a film that will lift the viewer far higher up that one might ever have thought possible. --Sam Graham

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The Road to Bonneville

• Feature Run Time: 61 Minutes
• + Over 45 minutes of Bonus Footage

Faced with the decision of a lifetime, Arvilla Holden (Jessica Lange) hijacks her two best friends (Kathy Bates, Joan Allen) and sets off in a vintage '66 Bonneville convertible across the great American West to deliver her husband’s ashes to her step-daughter. What begins as a simple trip, will end up becoming a chance to rediscover themselves, their friendship, the importance of promises - and of living life to the fullest.Sentimental, but not too sugary, Bonneville proves there's a road movie for every taste and demographic. While the testosterone-fueled Easy Rider took aim at the young and the disaffected, this female-centric offering targets a more mature, less cynical audience. After her husband, Joe, passes away, Arvilla (two-time Oscar winner Jessica Lange) faces the prospect of homelessness as he ! neglected to update his will. Her single-minded stepdaughter, Francine (Christine Baranski), now in possession of the property, intends to sell their Pocatello home if she doesn't hand over her father's ashes, so Arvilla and Mormon best friends Margene (Kathy Bates) and Carol (Joan Allen) pile into Joe's refurbished 1966 Bonneville Pontiac convertible with the urn and head to Santa Barbara. On their trip through Bryce Canyon, Lake Powell, the Vegas Strip, and other Western wonders, they meet helpful skateboarder Bo (Victor Rasuk, Raising Victor Vargas) and chivalrous trucker Emmett (Tom Skerritt), who takes a shine to the widowed Margene. Though nothing goes quite as planned, friendship helps smooth the bumpy ride from Idaho to California--and beyond. The characters in Bonneville may be older and wiser than the women of Thelma and Louise or Fried Green Tomatoes, in which Bates appeared, but this smaller-scale effort shares the same sisterly value! s and the central trio establishes a touching rapport. Supplem! ents inc lude a making-of featurette, deleted and alternate scenes, and a short gag reel. --Kathleen C. Fennessy

Beyond Bonneville on DVD

Watch Little Miss Sunshine on DVD

Check out Imagine Me & You on DVD

Stills from Bonneville (Click for larger image)

!

Join hot rod builder and filmmaker Brian Darwas as he rides shot gun with two of the most significantly influential hot rod builders of this generation for an epic cross country adventure that you will want to experience again and again. You've heard the stories and you've seen the photographs, but now for the first time you can ride along side of Ken Schmidt and Keith Cornell of The Rolling Bones as they travel over 2,300 miles, through ten states from New York to Nevada in their famous 1932 Ford Coupes, "The Wicked Sisters." Pit next to The Hop Up Race Team and The Bean Bandits at what most people consider to be the birth place of hot rodding, The Bonneville Salt Flats. Watch Dan Parker and the other members of The Rolling Bones Race Team hit the salt for Speed Week. Get on the ground with Keith Cornell while he swaps the gears out of a vintage Halibrand rear and stand next to Ken Schmidt as he gets under the hood to re-jet carbs between runs! Peer over the shoulder of renown hot rod photographer Peter Vincent while he shoots two of the world's most beautiful hot rods in one of the world's most beautiful settings, and witness The Rolling Bones hop in George Poteet's '32 roadster and hit speeds of up to 175 miles per hour! Get an in depth look inside the shop at Greenfield Center in New York. Go down to the Maxton Monster Mile in North Carolina for a test run, and travel all the way across the country to Bonneville for the time trails at Speed Week. This film is a true lesson in hot rodding that is not to be missed! - Feature run time approx. 61 minutes + over 45 minutes of bonus features! -

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Factory Girl (Unrated)

• (Drama) "Factory Girl" tells the story of the rise and fall of the original "IT GIRL" Edie Sedgwick. When Edie meets famed artist Andy Warhol, she is thrust into a life of glamour, parties and ultimately tragedy. Format: DVD MOVIE Genre: DRAMA Rating: NR Age: 796019804943 UPC: 796019804943 Manufacturer No: 80494

(Drama) "Factory Girl" tells the story of the rise and fall of the original "IT GIRL" Edie Sedgwick. When Edie meets famed artist Andy Warhol, she is thrust into a life of glamour, parties and ultimately…tragedy.The lovely face of Sienna Miller fills in for luminous but tragic 1960s icon Edie Sedgwick, the child of wealth and privilege who found brief delight but eventual destruction in the fabled Factory of Pop artist Andy Warhol (Guy Pearce). Factory Girl begins with Sedgwick as a naive art student who comes to New York City seeking freedom from her troubled family, j! ust as Warhol was surrounding himself with oddballs, sycophants, and drug addicts. The eager girl briefly becomes Warhol's favorite and the center of the city's attention, but when she falls into an affair with 'The Musician' (the only slightly ambiguous depiction of a certain nasal-voiced rock star, played by Hayden Christensen, Shattered Glass), Warhol is stricken with jealousy. Factory Girl wants to paint Warhol as the villain in this story of innocence corrupted, but the casting undercuts the movie's moral. Miller, though pretty and capable, never takes us under Sedgwick's skin, and Christensen's performance is one-note and clumsy. But Pearce's Warhol fascinates; it's a sneaky, stealthy performance, predatory yet passive, hiding a million neuroses beneath a cunningly vapid facade. Whenever Pearce is on-screen, Factory Girl sparkles; when he's not--despite abundant views of Miller's and Christensen's attractive naked flesh in the "uncut unrated" vers! ion--the movie loses its fizz. Also featuring Mena Suvari (! American Beauty), Jimmy Fallon (Fever Pitch), and Illeana Douglas (Grace of My Heart). --Bret Fetzer

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Gothika [Blu-ray]

• A brilliant and respected criminal psychologist, Dr. Miranda Grey (Halle Berry) is an expert at knowing what is rational. Under the direction of her husband (Charles S. Dutton), Miranda treats dangerously disturbed patients at the Woodward Penitentiary for Women. But Miranda's life is thrust into terrifying jeopardy after a cryptic encounter with a mysterious young girl leads to a nightmare beyond

A brilliant and respected criminal psychologist, Dr. Miranda Grey (Halle Berry) is an expert at knowing what is rational. Under the direction of her husband (Charles S. Dutton), Miranda treats dangerously disturbed patients at the Woodward Penitentiary for Women. But Miranda's life is thrust into terrifying jeopardy after a cryptic encounter with a mysterious young girl leads to a nightmare beyond her wildest imagination.

DVD Features:
Audio Commentary
Music Video:Fred D! urst music video - "Behind Blue Eyes"
Theatrical Trailer:Fred Durst music video - "Behind Blue Eyes"

The title of Gothika prepares you for a spooky, atmospheric thriller with an emphasis on supernatural mystery. The best way to appreciate the movie itself is to understand that it's a waking nightmare that needn't make sense in the realm of sanity. Making a flashy Hollywood debut after his superior 2000 thriller Crimson Rivers, French actor-director Mathieu Kassovitz pours on the dark and stormy atmosphere, trapping a competent psychologist (Halle Berry) in the prison ward where she treated inmates (including Penelope Cruz) until she was committed for killing her husband (Charles S. Dutton), who was also her boss. Did a car crash cause her to suffer ghostly delusions, or is a young girl--dead for four years--sending clues from beyond the grave? Berry has to prove her innocence while Kassovitz keeps everything--including the viewer and costar Ro! bert Downey Jr. (as Berry's colleague)--in the dark about just! where t he nonsensical plot is leading. There's a better movie in here somewhere, among the catwalks and crannies of the impressive prison-castle setting, and Berry gives 100% in a performance that's consistent with the movie's overwrought tone. Attentive viewers will identify the killer early on, and the ending is anticlimactic, but Gothika serves up a few good shocks for ghost-story connoisseurs. --Jeff ShannonA brilliant and respected criminal psychologist, Dr. Miranda Grey (Halle Berry) is an expert at knowing what is rational. Under the direction of her husband (Charles S. Dutton), Miranda treats dangerously disturbed patients at the Woodward Penitentiary for Women. But Miranda's life is thrust into terrifying jeopardy after a cryptic encounter with a mysterious young girl leads to a nightmare beyond her wildest imagination.The title of Gothika prepares you for a spooky, atmospheric thriller with an emphasis on supernatural mystery. The best way to apprecia! te the movie itself is to understand that it's a waking nightmare that needn't make sense in the realm of sanity. Making a flashy Hollywood debut after his superior 2000 thriller Crimson Rivers, French actor-director Mathieu Kassovitz pours on the dark and stormy atmosphere, trapping a competent psychologist (Halle Berry) in the prison ward where she treated inmates (including Penelope Cruz) until she was committed for killing her husband (Charles S. Dutton), who was also her boss. Did a car crash cause her to suffer ghostly delusions, or is a young girl--dead for four years--sending clues from beyond the grave? Berry has to prove her innocence while Kassovitz keeps everything--including the viewer and costar Robert Downey Jr. (as Berry's colleague)--in the dark about just where the nonsensical plot is leading. There's a better movie in here somewhere, among the catwalks and crannies of the impressive prison-castle setting, and Berry gives 100% in a performance that'! s consistent with the movie's overwrought tone. Attentive view! ers will identify the killer early on, and the ending is anticlimactic, but Gothika serves up a few good shocks for ghost-story connoisseurs. --Jeff Shannon

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The Dead Girls' Dance (Morganville Vampires, Book 2)

• ISBN13: 9780451220899
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

There's something about almost dying that makes a girl rethink her priorities. Take Nicki Styxâ€"she was strictly goth and vintage, until a brush with the afterlife leaves her with the ability to see dead people.

Before you can say boo, Atlanta's ghosts are knocking at Nicki's door. Now her days consist of reluctantly cleaning up messes left by the dearly departed, leading ghouls to the Light . . . and one-on-one anatomy lessons with Dr. Joe Bascombe, the dreamy surgeon who saved her life. All this catering to the deceased is a real drag, especially for a girl who'd rather be playing hanky-panky with her hunky new boyfriend . . . who's beginning to think she's totally nuts.

But th! ings get even more complicated when a friend foolishly sells her soul to the devil, and Nicki's new gift lands her in some deep voodoo.

As it turns out for Nicki Styx, death was just the beginning.

Once upon a time, I was a little girl who disappeared.

Once upon a time, my name was not Alice.

Once upon a time, I didn't know how lucky I was.

When Alice was ten, Ray took her away from her family, her friends -- her life. She learned to give up all power, to endure all pain. She waited for the nightmare to be over.

Now Alice is fifteen and Ray still has her, but he speaks more and more of her death. He does not know it is what she longs for. She does not know he has something more terrifying than death in mind for her.

This is Alice's story. It is one you have never heard, and one you will never, ever forget.Claire has her share of challenges. Like being a genius in a school that favors beauty over brains;! homicidal girls in her dorm, and finding out that her college! town is overrun with the living dead. On the up side, she has a new boyfriend with a vampire-hunting dad. But when a local fraternity throws the Dead Girls' Dance, hell is really going to break loose.

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Exorcist - The Beginning (Widescreen Edition)

• Prequel. Exorcist: The Beginning traces the story of Father Merrin back to his first encounter with the Devil during his missionary work in Africa.Running Time: 114 min. Format: DVD MOVIE Genre: HORROR Rating: R Age: 085392467426 UPC: 085392467426 Manufacturer No: 24674

Prequel. Exorcist: The Beginning traces the story of Father Merrin back to his first encounter with the Devil during his missionary work in Africa."This movie is cursed!" exclaimed movie-magazine headlines regarding Exorcist: The Beginning, but those dire warnings turned out to be exaggerated. Considering a tumultuous production history that actually did seem cursed, Renny Harlin's much-maligned prequel to The Exorcist is a surprisingly competent, serious-minded shocker filled with the same anxious foreboding that made the 1973 original so phenomenally effective. The story lacks focus and feels cobble! d together (perhaps the result of its tortured development, which included the untimely death of original director John Frankenheimer), but Stellan Skarsgård is well-cast as Father (now Mr.) Merrin, a lapsed Catholic priest summoned to East Africa in 1949 to retrieve a demonic idol. He discovers a buried church, a vast underground cavern, demonic possession, and a legacy of carnage that preys upon guilt-ridden memories from his parish in Nazi-occupied Holland. Harlin delivers the gross-out moments that Warner Brothers demanded, but otherwise shows remarkable restraint while cinematographer Vittorio Storaro delivers doom-laden visual atmosphere. It's not the classic many were hoping for--not even close--but it's still a win-win scenario for horror fans, since it's rumored the unreleased and "abandoned" version directed by Paul Schrader will be paired with this film for its DVD release. Comparisons will no doubt prove interesting. --Jeff Shannon

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The Big Bang Theory: The Complete Fifth Season

• 100% cotton
• Wash warm; dry low
• Imported
• Listed in junior sizes

Hey, where's Sheldon? "Bazinga!" Oh, there he is.

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