Gracie

• Meet Gracie Bowen, she's your average, ordinary 15-year-old girl, except for one thing: she's determined to play varsity soccer. on the boys' team! But when her school forbids her to play and even her family questions her ability, Gracie sets out on extraordinary quest to prove them all wrong. Fighting to change the school's policy and facing off against some of the toughest competitors on the so

Meet Gracie Bowen, she's your average, ordinary 15-year-old girl, except for one thing: she's determined to play varsity soccer... on the boys' team! But when her school forbids her to play and even her family questions her ability, Gracie sets out on extraordinary quest to prove them all wrong. Fighting to change the school's policy and facing off against some of the toughest competitors on the soccer field, Gracie must summon all of her strength and courage, to finally show the world that a girl wi! th a dream can do absolutely anything!

DVD Features:
Audio Commentary
Featurette
Theatrical Trailer

Both on-screen and off, Gracie is an inspiring family affair that turns real-life tragedy into a spirited tale of fortitude. With former Melrose Place star Andrew Shue serving as producer and playing a supporting role, and his actress sister Elisabeth Shue (Leaving Las Vegas) in a supporting role, this modest, $10 million independent production was directed by Elisabeth Shue's husband, TV veteran Davis Guggenheim (director of Al Gore's global-warming documentary An Inconvenient Truth), and loosely inspired by the death of the Shues' brother, Will. Elisabeth Shue's successful late-1970s campaign to replace her late brother on his high school soccer team serves as the basis for this appealing, no-frills drama about Gracie Bowen (Carly Schroeder), an athletic New Jersey teenager whose soccer-star brother i! s killed in a car accident. Against the wishes of her initiall! y unsupp ortive parents (Dermot Mulroney, Elisabeth Shue), she pays tribute to her brother by pursuing his place on her high school's boy's soccer team. The year is 1978 (with Boston's "Don't Look Back" and other '70s hits on the soundtrack), and girls' soccer doesn't yet exist in American high schools, but Gracie's determination pays off, and without attempting to reinvent the wheel, Gracie emerges as a satisfying, emotionally authentic story of personal perseverance. In a role that all teenage girls will relate to, Schroeder (a seasoned child-star veteran of soap operas and sitcoms) gives a quietly forceful performance that's sure to boost her Hollywood profile, and the fine supporting cast and a sensibly-written screenplay keep Gracie from becoming the maudlin tear-jerker it might have been. Gracie isn't a great film by any means, but for all its familial heart and soul, it deserves to be called a winner. --Jeff Shannon

Enduring Love: A Novel (Sydney Cove)

• ISBN13: 9780800731786
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

On a windy spring day in the Chilterns, the calm, organized life of science writer Joe Rose is shattered when he witnesses a tragic accident: a hot-air balloon with a boy trapped in its basket is being tossed by the wind, and in the attempt to save the child, a man is killed. A stranger named Jed Parry joins Rose in helping to bring the balloon to safety. But unknown to Rose, something passes between Parry and himself on that day--something that gives birth to an obsession in Parry so powerful that it will test the limits of Rose's beloved rationalism, threaten the love of his wife, Clarissa, and drive him to the brink of murder and madness. Brilliant and compassionate, this is a novel of love, faith, ! and suspense, and of how life can change in an instant.Joe Rose has planned a postcard-perfect afternoon in the English countryside to celebrate his lover's return after six weeks in the States. To complete the picture, there's even a "helium balloon drifting dreamily across the wooded valley." But as Joe and Clarissa watch the balloon touch down, their idyll comes to an abrupt end. The pilot catches his leg in the anchor rope, while the only passenger, a boy, is too scared to jump down. As the wind whips into action, Joe and four other men rush to secure the basket. Mother Nature, however, isn't feeling very maternal. "A mighty fist socked the balloon in two rapid blows, one-two, the second more vicious than the first," and at once the rescuers are airborne. Joe manages to drop to the ground, as do most of his companions, but one man is lifted sky-high, only to fall to his death.

In itself, the accident would change the survivors' lives, filling them w! ith an uneasy combination of shame, happiness, and endless se! lf-repro ach. (In one of the novel's many ironies, the balloon eventually lands safely, the boy unscathed.) But fate has far more unpleasant things in store for Joe. Meeting the eye of fellow rescuer Jed Parry, for example, turns out to be a very bad move. For Jed is instantly obsessed, making the first of many calls to Joe and Clarissa's London flat that very night. Soon he's openly shadowing Joe and writing him endless letters. (One insane epistle begins, "I feel happiness running through me like an electrical current. I close my eyes and see you as you were last night in the rain, across the road from me, with the unspoken love between us as strong as steel cable.") Worst of all, Jed's version of love comes to seem a distortion of Joe's feelings for Clarissa.

Apart from the incessant stalking, it is the conditionals--the contingencies--that most frustrate Joe, a scientific journalist. If only he and Clarissa had gone straight home from the airport... If only th! e wind hadn't picked up... If only he had saved Jed's 29 messages in a single day... Ian McEwan has long been a poet of the arbitrary nightmare, his characters ineluctably swept up in others' fantasies, skidding into deepening violence, and--worst of all--becoming strangers to those who love them. Even his prose itself is a masterful and methodical exercise in defamiliarization. But Enduring Love and its underrated predecessor, Black Dogs, are also meditations on knowledge and perception as well as brilliant manipulations of our own expectations. By the novel's end, you will be surprisingly unafraid of hot-air balloons, but you won't be too keen on looking a stranger in the eye.Just when things seem to be looking up for John and Hannah Bradshaw, their world is turned upside down. Years ago, John was in prison when he was told his first wife, Margaret, died. So how is it that she shows up in Sydney Town looking to pick up where they left off?

! Her marriage now null and void, Hannah is distraught. But she ! and John feel they must separate to allow John's first marriage to continue. But is Margaret hiding something after all? And just what will she do to get what she wants?

This conclusion to the Sydney Cove trilogy will draw readers in with its suspenseful, romantic, and tender narrative.

Festival in Cannes - Anouk Aimee - Movie Poster 27" X 40" (379)

• Festival in Cannes
• Anouk Aimee
• Movie
• Poster
• Measures 27" X 40"

Filming on location in France during the 1999 Cannes Film Festival, Henry Jaglom goes behind the scenes to explore how movies get made (and unmade). He would know--he's been making them for decades now. In this one, he takes an Altman-meets-Cassavetes approach to his subject. While former actress Alice (Greta Scacchi), for instance, is trying to get her directorial debut off the ground, film icon Millie (Anouk Aimée) is trying to decide between the lead in Alice's indie and a (better-paying) cameo in the new Tom Hanks vehicle. As in The Player, Jaglom focuses on several characters and, as in many Cassavetes pictures, the dialogue feels improvised. If Festival in Cannes is less emotionally involving than 1997's Déjà Vu (arguably his best), it still provides a fine showcase f! or a talented cast, including Maximilian Schell as Millie's husband and Ron Silver as the producer behind the Hanks project. --Kathleen C. FennessyFilming on location in France during the 1999 Cannes Film Festival, Henry Jaglom goes behind the scenes to explore how movies get made (and unmade). He would know--he's been making them for decades now. In this one, he takes an Altman-meets-Cassavetes approach to his subject. While former actress Alice (Greta Scacchi), for instance, is trying to get her directorial debut off the ground, film icon Millie (Anouk Aimée) is trying to decide between the lead in Alice's indie and a (better-paying) cameo in the new Tom Hanks vehicle. As in The Player, Jaglom focuses on several characters and, as in many Cassavetes pictures, the dialogue feels improvised. If Festival in Cannes is less emotionally involving than 1997's Déjà Vu (arguably his best), it still provides a fine showcase for a talented cast, includ! ing Maximilian Schell as Millie's husband and Ron Silver as th! e produc er behind the Hanks project. --Kathleen C. FennessyScreenplay and film stills plus the original movie treatment. Filmed against the backdrop of the world famous Cannes International Film Festival, Henry Jaglom's "Festival in Cannes" is a story that plunges the audience deep into the heart of the funny, touching, sometimes glamourous, often duplicitous world of the haves and have-notes of the International Movie Business. FOR MORE INFORMATION, PLEASE VISIT: TheRainbowStore.comFESTIVAL IN CANNES Movie Poster. Starring: Anouk Aimée & Greta Scacchi. Written and Directed by: Henry Jaglom. 2002 Paramount Pictures. Measures 27" X 40"

Mechanix Wear MCW2-08-010 Zone 2 Cold Weather Glove, Black/Grey, Large

• Designed to provide top notch wind resistance and durable cold weather protection
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• For working conditions down to 0 degrees

A Dulcie Schwartz feline mystery - When a student goes missing and a professor ends up dead, Dulcie Schwartz realizes that midterms are going to be worse than ever. She’s hard at work on her thesis, but present day concerns â€" including the destructive mischief of her growing kitten â€" keep dragging her back into a tangle of motive, misbehavior, and maybe even murder. If only Mr Grey, her beloved feline ghost, would lend a hand, at least with that rambunctious kitten . . .

A ! stunning foray into the mind and actions of the acclaimed actor/writer/director who worked for more than five years to produce first a play, then a movie, now a bookâ€"his most personal work to date, a searing Holocaust drama starring David Arquette, Daniel Benzali, Steve Buscemi, David Chandler, Allen Corduner, Harvey Keitel, Natasha Lyonne, and Mira Sorvino. Tim Blake Nelson's powerful account of what inspired him, and how he prepared himself and others to make this haunting movie, reveals how and why a writer/director chooses such a difficult subject and surmounts its challenges. First realized as a play, which earned numerous awards, the story is based on historical events, centering on Auschwitz's twelfth Sonderkommando squad, prisoners assigned work in the crematoria, and their struggle to organize the only armed revolt in October of 1944. Financed by Millennium Films, produced by Killer Films, and released by Lions Gate Films in the US, The Grey Zone deb! uted in the United States in October 2002, garnering major med! ia atten tion.

This book is the definitive record of Nelson's journeyâ€"from his initial readings and research, to assembling a brave cast that could tackle the material, to reconstructing the crematoria 80 percent to scale on location outside of Sofia, Bulgaria, and to his work with the art director, costume and production designers, and others on his team.

To acquaint his cast and crew with the difficult material, Nelson summarized his research and his cinematic vision in a compelling, lengthy pre-production memo, which is reproduced in this book. Also included are his screenplay, his annotated reading list, movie stills, excerpts from an essay by Primo Levi, and the source chapter from the book Auschwitz: A Doctor's Eyewitness Account, by Dr. Miklos Nyiszli.

Decade of Fear is a darkly entertaining journey through the complicated, often bizarre world of national security since 9/11. On that night, Toronto Star journalist Michelle Shephard watched t! he remains of New York’s World Trade Center fall from the sky, wondering what much of the world was asking: Â"Why?” So began a ten-year search for answers that took her through the streets of Mogadishu and Karachi, into the mountains of Waziristan and behind the wire of Guantanamo Bay two dozen times.

Shephard conducted hundreds of interviews worldwide, and with sharp insight and an appreciation for the absurd, she weaves together stories of warlords, presidents, spies, grieving widows and global terrorists, to describe the historic decade where often the West’s Â"solutions” for terrorism only served to exacerbate the problem. She cruises with former CIA bosses, runs alongside protestors in the streets of Sanaa to escape fire from Yemen’s security services during experience the Arab Spring, meets victims of terrorism who leave her devastated, and earns enough stamps on her Gitmo Starbucks card for a free latte. Gripping, heartbreaking and infuriating! , Decade of Fear broadens our understanding of a decade! that wa s all too often described through panicked rhetoric.

Mechanix Wear Climate Control Zone 2 gloves provide superior wind resistance and durable cold weather protection. Snug fitting design combines warmth and breathability of fleece with a specially designed wind-resistant lining. Palms are made of Clarino synthetic leather, with Zeus rubberized material in high wear areas for added strength and tactility. Size: L, Color: Black, Shell: Heavyweight fleece, Lining: Wind resistant, Cuff Material: Neoprene, Palm Material: Clarino synthetic leather, Pairs (qty.): 1

The Exorcist (Extended Director's Cut & Original Theatrical Edition) [Blu-ray]

• Controversial and popular from the moment it opened, The Exorcist marks its historic Blu-ray premiere in a 2-Disc Edition featuring Stunning Hi-Def Presentations of the Original 1973 Theatrical Version and the 2000 Extended Director s Cut. The frightening and realistic tale of an innocent girl inhabited by a terrifying entity, her mother s frantic resolve to save her and two priests one doubt-ridd

Controversial and popular from the moment it opened, The Exorcist marks its historic Blu-ray premiere in a 2-Disc Edition featuring Stunning Hi-Def Presentations of the Original 1973 Theatrical Version and the 2000 Extended Director's Cut. The frightening and realistic tale of an innocent girl inhabited by a terrifying entity, her mother's frantic resolve to save her and two priests--one doubt-ridden, the other a rock of faith--joined in battling ultimate evil always leaves viewers breathless. This ! greatest supernatural thriller of all time astonishes and unsettles like no other movie. Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial bestseller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism. Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by Satanic disfiguration. One of the most frightening films ever made, The Exorcist was mysteriously plagued by trouble during production, and the years since have not dimi! nished its capacity to disturb even the most stoic viewers. --Jeff Shannon

Full Metal Jacket

• The story of an 18-year-old marine recruit named Private Joker - from his carnage-and-machismo boot camp to his climactic involvement in the heavy fighting in Hue during the 1968 Tet Offensive. Format: DVD MOVIE Genre: DRAMA Rating: R Age: 085391163114 UPC: 085391163114 Manufacturer No: 116311

The story of an 18-year-old marine recruit named Private Joker - from his carnage-and-machismo boot camp to his climactic involvement in the heavy fighting in Hue during the 1968 Tet Offensive.Stanley Kubrick's 1987, penultimate film seemed to a lot of people to be contrived and out of touch with the '80s vogue for such intensely realistic portrayals of the Vietnam War as Platoon and The Deer Hunter. Certainly, Kubrick gave audiences plenty of reason to wonder why he made the film at all: essentially a two-part drama that begins on a Parris Island boot camp for rookie Marines a! nd abruptly switches to Vietnam (actually shot on sound stages and locations near London), Full Metal Jacket comes across as a series of self-contained chapters in a story whose logical and thematic development is oblique at best. Then again, much the same was said about Kubrick's 2001: A Space Odyssey, a masterwork both enthralled with and satiric about the future's role in the unfinished business of human evolution. In a way, Full Metal Jacket is the wholly grim counterpart of 2001. While the latter is a truly 1960s film, both wide-eyed and wary, about the intertwining of progress and isolation (ending in our redemption, finally, by death), Full Metal Jacket is a cynical, Reagan-era view of the 1960s' hunger for experience and consciousness that fulfilled itself in violence. Lee Ermey made film history as the Marine drill instructor whose ritualized debasement of men in the name of tribal uniformity creates its darkest angel in a murdero! us half-wit (Vincent D'Onofrio). Matthew Modine gives a smart ! and savv y performance as Private Joker, the clowning, military journalist who yearns to get away from the propaganda machine and know firsthand the horrific revelation of the front line. In Full Metal Jacket, depravity and fulfillment go hand in hand, and it's no wonder Kubrick kept his steely distance from the material to make the point. --Tom Keogh

American History X [Blu-ray]

• Derek Vinyard is dangerous, a coiled fury of hate who leads a neo-Nazi gang. But time and events start to change him. He reassesses his ways while doing time for manslaughter and emerges from prison eager to keep his younger brother (Edward Furlong) from falling victim to the thug cycle of violence and payback. It may be too late.Weaving in and out of events past and present in Dereks life, Americ

Nanette Burstein's 2008 documentary.A documentary following the lives of four teenagers -- a jock, the popular girl, the artsy girl and the geek--in one small town in Indiana through their senior year of high school. We see the insecurities, the cliques, the jealousies, the first loves and heartbreaks, and the struggle to make profound decisions about the future. Filming daily for ten months, filmmaker Nanette Burstein developed a deep understanding of her subjects. The result is a film that goes be! yond the enduring stereotypes of high school to render complex young people trying to find their way into adulthood.Derek Vinyard is dangerous, a coiled fury of hate who leads a neo-Nazi gang. But time and events start to change him. He reassesses his ways while doing time for manslaughter and emerges from prison eager to keep his younger brother (Edward Furlong) from falling victim to the thug cycle of violence and payback. It may be too late. Weaving in and out of events past and present in Dereks life, American History X is revealing in its look at white-supremacist gangs and impassioned in its message that hatred and bigotry can be unlearned. Edward Norton (Fight Club, Pride and Glory) portrays Derek, giving a powerful, persuasive, Oscar®-nominated* performance.Perhaps the highest compliment you can pay to Edward Norton is that his Oscar-nominated performance in American History X nearly convinces you that there is a shred of logic in the tenets of white suprem! acy. If that statement doesn't horrify you, it should; Norton ! is so fu lly immersed in his role as a neo-Nazi skinhead that his character's eloquent defense of racism is disturbingly persuasive--at least on the surface. Looking lean and mean with a swastika tattoo and a mind full of hate, Derek Vinyard (Norton) has inherited racism from his father, and that learning has been intensified through his service to Cameron (Stacy Keach), a grown-up thug playing tyrant and teacher to a growing band of disenfranchised teens from Venice Beach, California, all hungry for an ideology that fuels their brooding alienation.

The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Der! ek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment, and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact. --Jeff Shannon

Dance Flick : Widescreen Edition

• Widescreen

Street dancer Thomas Uncles is from the wrong side of the tracks, but his bond with the beautiful Megan White might help the duo realize their dreams as they enter into the mother of all dance battles.The spoof movie Dance Flick is the creation of an army of normally funny Wayans men: Damien Dante Wayans directing, from a script written by him and Keenen Ivory Wayans, Shawn Wayans, Marlon Wayans, and Craig Wayans. Craig Wayans and Damon Wayans Jr. star in what should have been, in the tradition of Airplane!, a rich parody of a genre that could use a little spoofing, i.e., earnest dance movies in the vein of High School Musical, Flashdance, and, especially, Save the Last Dance. Damon Wayans Jr. plays a determined, African American hip-hop dancer named Thomas Uncles, who becomes romantically and artistically involved with a white wannabe ballerina (! Shoshana Bush in the Julia Stiles role from Last Dance). Dance Flick goofs on Last Dance in obvious and silly ways, but the Wayans also take shots at just about everything that pops into their heads: Twilight, Dick Cheney, the self-consciousness of interracial romance. There are a few laughs, but in the absence of a sustained comic tone and consistently good ideas, the script relies on endless bathroom humor and such throwaway visual ideas as a baby stored in a high school locker. --Tom Keogh

Stills from Dance Flick (Click for larger image)

DANCE FLICK - Blu-Ray MovieThe spoof movie Dance Flick is the creation of an army of normally funny Wayans men: Damien Dante Wayans directing, from a script written by him and Keenen Ivory Wayans, Shawn Wayans, Marlon Wayans, and Craig Wayans. Craig Wayans and Damon Wayans Jr. star in what should have been, in the tradition of Airplane!, a rich parody of a genre that could use a little spoofing, i.e., earnest dance movies in the vein of High School Musical, Flashdance, and, especially, Save the Last Dance. Damon Wayans Jr. plays a determined, African American hip-hop dancer named Thomas Uncles, who becomes romantically and artistically involved with a white wannabe ballerina (Shoshana Bush in the Julia Stiles role from Last Dance). Dance Flick goofs on Last Dance in obvious and silly ways, but the Wayans also take shots at just about everythi! ng that pops into their heads: Twilight, Dick Cheney, ! the self -consciousness of interracial romance. There are a few laughs, but in the absence of a sustained comic tone and consistently good ideas, the script relies on endless bathroom humor and such throwaway visual ideas as a baby stored in a high school locker. --Tom Keogh

Stills from Dance Flick (Click for larger image)

The spoof movie Dance Flick is the creation of an army of normally funny Wayans men: Damien Dante Wayans directi! ng, from a script written by him and Keenen Ivory Wayans, Shaw! n Wayans , Marlon Wayans, and Craig Wayans. Craig Wayans and Damon Wayans Jr. star in what should have been, in the tradition of Airplane!, a rich parody of a genre that could use a little spoofing, i.e., earnest dance movies in the vein of High School Musical, Flashdance, and, especially, Save the Last Dance. Damon Wayans Jr. plays a determined, African American hip-hop dancer named Thomas Uncles, who becomes romantically and artistically involved with a white wannabe ballerina (Shoshana Bush in the Julia Stiles role from Last Dance). Dance Flick goofs on Last Dance in obvious and silly ways, but the Wayans also take shots at just about everything that pops into their heads: Twilight, Dick Cheney, the self-consciousness of interracial romance