Sunday, November 13, 2011

The Adventures of Buckaroo Banzai : Across the Eighth Dimension

  • ISBN13: 9780743442480
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
"I speak Spanish to God, French to women, English to men, and Japanese to my horse."

-- Buckaroo Banzai

Buckaroo Banzai. A strange, elusive figure, his name whispered in barrooms and boardrooms, his advice sought by pashas and presidents, his exploits recounted in movies, novels, and comic books that seem somehow more real than life itself.

Buckaroo Banzai. First and foremost an extraordinary brain surgeon. In his spare time designer and driver of the electrifying Jet Car, a speed machine faster than sound! Buckaroo Banzai. A happy man whose life has been marked by great tragedy, who speaks a dozen languages and writes songs in all of them. His musical sidekic! ks the Hong Kong Cavaliersó Rawhide, Reno, the Swede, Perfect Tommy, Flyboy, Big Norse, Pecosóare one of the toughest, most popular hard-rocking bar bands in east Texas.

Join Team Banzai on their two-fisted, action-packed assault against the evil red Lectroids from Planet 10! Experience the horrors of the Shock Tower and the Pitt deep within the walls of Yoyodyne Propulsion Systems as Buckaroo Banzai fights against impossible odds to rescue Penny Priddy from the clutches of Dr. Emilio Lizardo, the diabolically alien dictator. Pray that Buckaroo will succeed, knowing only too well that if he fails the Earth itself will be blown to dust!

For the first time in nearly twenty years, Pocket Books is proud to present The Adventures of Buckaroo Banzai. This special edition features a new introduction by the author and a color insert featuring photos and illustration seen here for the very first time!

No matter where you go, there you are.

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In 1964, a brash new pro boxer, fresh from his olympic gold medal victory, explodes on to the scene, Cassius Clay. Bold and outspoken, he cuts an entirely new image for African American's in sport with his proud public self confidence with his unapologetic belief that he is the greatest boxer of all time. To his credit, he sets out to prove that with his highly agile and forceful style soon making him a formidable boxer who soon claims the heavyweight championship. His personal life is no less noteworthy with his allegiance to the Nation of Islam, his friendship with the controversial Malcolm X and his abandonment of his slave name! in favour of Muhammad Ali stirring up controversy. Yet, at the top of his game, both Ali's personal and professional lives face the ultimate test with the military draft rules are changed, making him eligible for military induction during the Vietnam War. Despite the fact that he could easily agree to a sweetheart deal that would have meant an easy tour of duty for himself, Ali refuses to submit on principle to cooperate in an unjust war for a racist nation that treated his people so poorly. The cost of that stand is high as he finds himself unable to legally box in his own country while his case is contested in court. What follows is a battle for a man who would sacrifice so much for what he believes in and a comeback that would cement his legend as one of the great sports figures of all time.Ali is a rush of charm, violence, and well-crafted mythmaking sure to enthrall. From the unforgettable surge of the opening--a 10-minute montage of sheer brilliance where form! ative scenes from the early life of Cassius Clay float along o! n the ra pture of a live performance by Sam Cooke in a Harlem nightclub--through to Muhammad Ali's departure for Zaire to fight George Foreman, Michael Mann's homage is mostly crisp and fleet-footed. As Clay/Ali, Will Smith acquits himself marvelously due in large part to his uncanny re-creation of Ali's most famous weapon, his mesmerizing voice. Indeed, the best scenes throughout showcase Ali's verbal rather than pugilistic sparring; whether with his entourage (notably Jamie Foxx), Howard Cosell (Jon Voight), or Don King (Mykelti Williamson), Michael Mann's Ali has the same authoritative wit and ability to surprise that so disarmed the public. The news conferences and behind-the-scenes banter are exquisitely re-created; not so Ali's flaws. Mann's attempt to depict Ali's womanizing, his dubious affiliation with the Nation of Islam, and his insatiable need for the spotlight seems halfhearted and laborious in comparison to the film's enlivened adoration of its subject. As the sluggish ! second half of the film betrays, Ali is at its impressionistic best when it's in awe rather than when it explains. --Fionn Meade ALI:DIRECTOR'S CUT - DVD MovieAli is a rush of charm, violence, and well-crafted mythmaking sure to enthrall. From the unforgettable surge of the opening--a 10-minute montage of sheer brilliance where formative scenes from the early life of Cassius Clay float along on the rapture of a live performance by Sam Cooke in a Harlem nightclub--through to Muhammad Ali's departure for Zaire to fight George Foreman, Michael Mann's homage is mostly crisp and fleet-footed. As Clay/Ali, Will Smith acquits himself marvelously due in large part to his uncanny re-creation of Ali's most famous weapon, his mesmerizing voice. Indeed, the best scenes throughout showcase Ali's verbal rather than pugilistic sparring; whether with his entourage (notably Jamie Foxx), Howard Cosell (Jon Voight), or Don King (Mykelti Williamson), Michael Mann's Ali has! the same authoritative wit and ability to surprise that so di! sarmed t he public. The news conferences and behind-the-scenes banter are exquisitely re-created; not so Ali's flaws. Mann's attempt to depict Ali's womanizing, his dubious affiliation with the Nation of Islam, and his insatiable need for the spotlight seems halfhearted and laborious in comparison to the film's enlivened adoration of its subject. As the sluggish second half of the film betrays, Ali is at its impressionistic best when it's in awe rather than when it explains. --Fionn Meade Studio: Lions Gate Home Ent. Release Date: 12/29/2009 Run time: 100 minutes Rating: RHe rocked the sport, shook the world, and changed their lives. Now, several decades after they met in the ring, ten of the sport's finest fighters tell what it was like to battle Muhammad Ali, the man many consider the best boxer ever. This brutally honest documentary recounts Ali's incomparable journey as seen through the eyes of those who stepped through the ropes and into history. Join these resp! ected fighters as they weigh in on "The Greatest" and pay tribute to a living legend in this powerful and unforgettable film.

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Garfield Fat Cat Volume 1

Faster

  • A heart-hammering sensation at Slamdance, Faster is an electrifying tribute to the white-knuckle world of the Motorcycle Grand Prix--the fastest sport on two wheels--where only the most audacious competitors race at speeds over 200mph and crash at over 100mph. Narrated by Ewan McGregor (Big Fish, Star Wars: Episodes I-III), Faster chases two seasons worth of the world championship, featuring revea
After 10 years in prison, Driver (Dwayne Johnson) has focused on one thing â€" hunting down the people responsible for brutally murdering his brother. Now a free man with a terrifying purpose, he sets out to find and kill all those on his list. But on his heals are two men who will do anything to stop him â€" a veteran cop (Billy Bob Thornton) and a hitman (Oliver Jackson-Cohen) who finds his match in this worthy opponent. Now, the hunter is also the hunted.In Faster revenge is a dish best se! rved quickly and with no remorse. Dwayne Johnson's character Driver has few lines, instead letting his actions--and the growls of the muscle car he's driving--speak volumes. Driver (given no other name for the duration of the movie) is released from prison, for crimes not initially noted, and immediately sets out in a fast car with a gun and a mission of revenge. He is coldly efficient with his kills, wasting no time or bullets as he delivers his brand of justice. The puzzle pieces of his crusade are snapped together with each victim he goes after; this is not a man who kills for the thrill. Each victim is specially selected, and Driver wants each to see his face to understand why they are being executed. Nor does he bother hiding his face from surveillance cameras or the police detectives (Billy Bob Thornton, Carla Gugino) chasing him. Driver is not a man who cares if he's caught, so long as he gets to finish his self-imposed task first. As word of his spree hits the news,! one of his potential victims hires an assassin (Oliver Jackso! n-Cohen) to get to Driver first. Surprisingly, most of the characters show some depth of personality, in spite of being little more than caricatures of stereotypes (the troubled cop, the bored assassin). Faster isn't as reliant on mindless action as expected, but the story line is played out in such a way that you can't help rooting for Driver and his bloody revenge. Though parts are a tad predictable, all in all this is a thoroughly entertaining action flick. --Jill CorddryAfter 10 years in prison, Driver (Dwayne Johnson) has focused on one thing â€" hunting down the people responsible for brutally murdering his brother. Now a free man with a terrifying purpose, he sets out to find and kill all those on his list. But on his heals are two men who will do anything to stop him â€" a veteran cop (Billy Bob Thornton) and a hitman (Oliver Jackson-Cohen) who finds his match in this worthy opponent. Now, the hunter is also the hunted.In Faster revenge is a dish best se! rved quickly and with no remorse. Dwayne Johnson's character Driver has few lines, instead letting his actions--and the growls of the muscle car he's driving--speak volumes. Driver (given no other name for the duration of the movie) is released from prison, for crimes not initially noted, and immediately sets out in a fast car with a gun and a mission of revenge. He is coldly efficient with his kills, wasting no time or bullets as he delivers his brand of justice. The puzzle pieces of his crusade are snapped together with each victim he goes after; this is not a man who kills for the thrill. Each victim is specially selected, and Driver wants each to see his face to understand why they are being executed. Nor does he bother hiding his face from surveillance cameras or the police detectives (Billy Bob Thornton, Carla Gugino) chasing him. Driver is not a man who cares if he's caught, so long as he gets to finish his self-imposed task first. As word of his spree hits the news,! one of his potential victims hires an assassin (Oliver Jackso! n-Cohen) to get to Driver first. Surprisingly, most of the characters show some depth of personality, in spite of being little more than caricatures of stereotypes (the troubled cop, the bored assassin). Faster isn't as reliant on mindless action as expected, but the story line is played out in such a way that you can't help rooting for Driver and his bloody revenge. Though parts are a tad predictable, all in all this is a thoroughly entertaining action flick. --Jill CorddryA heart-hammering sensation at Slamdance, Faster is an electrifying tribute to the white-knuckle world of the Motorcycle Grand Prix--the fastest sport on two wheels--where only the most audacious competitors race at speeds over 200mph and crash at over 100mph. Narrated by Ewan McGregor (Big Fish, Star Wars: Episodes I-III), Faster chases two seasons’ worth of the world championship, featuring revealing interviews with riders, mechanics, doctors, commentators and fans. Even if you've never witnesse! d the intensity of MotoGP motorcycle racing, Faster will take your breath away. It's a perfect primer for newcomers, offering a comprehensive survey of the fastest sport on two wheels, and it's guaranteed to satisfy hardcore fans with its detailed history, profiles of the top riders from the 2001-02 seasons, highlights of spectacular crashes and unforgettable races, and a veritable feast of the best MotoGP cinematography you're ever likely to see. From front-and-rearview cycle cameras to swooping overhead track coverage, filmmaker Mark Neale immerses the viewer in the MotoGP experience, enhancing the adrenaline-pumping visuals with expert interviews and commentary (and cool, low-key narration by globetrotting cycle-lover Ewan McGregor) that any sportswriter would consider authoritative.

Literally and figuratively, a lot of ground gets covered: From Kenny Roberts and the late Barry Sheene discussing their innovative knee-dragging styles and the origins of rear-whe! el steering to the colorful rivalry of Max Biaggi and reigning! champio n Valentino Rossi (including Biaggi's infamous "Elbow Incident" at Suzuka in 2001), Faster never loses sight of the human element that makes this ultra-dangerous sport so fascinating. Track physician "Dr. Costa" is profiled (and offers some eloquently philosophical thoughts about MotoGP riders), along with innovative rider Garry McCoy (plagued by injuries); former champion Wayne Rainey (now paraplegic and active in kart-racing); young prodigy John Hopkins in his rookie season; and several other prominent figures in the world of MotoGP.

The bonus disc includes Faster & Faster, a sequel covering the 2003 and 2004 seasons, which saw the rise of the 500cc 4-stroke engine (and speeds in excess of 215 mph), Ducati's dominance and trend-setting removal of engine silencers (to boost power); Rossi's move to Yamaha; the fatal crash of Daijiro Kato; the victories of Sete Gibernau; and the rookie debuts of Neil Hodgson, Ruben Xaus, and Shane Byrne. Through it all, F! aster and its sequel serve as the ultimate guide to MotoGP, certain to inspire future champions and armchair fans alike. --Jeff Shannon

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Food, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.

Q&A with Producer/Director Robert Kenner, Co-Producer/Fo! od Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.

How many years did it take to do this film and what wer! e the ch allenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ years.  It has taken a lot longer than we expected because we were denied access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing ! and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even thoug! h he’s not guilty of anything.  Then we realized there’s ! somethin g going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise.

So, what does our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what ! we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA does not have the authority to shut down a plant ! that is producing contaminated meat.  The FDA and the USDA ha! ve had t heir inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contemplating whether or not to label meat and milk from cloned cows.  It seems very basic that consumers should have the right t! o know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year.  The typical meatpacking worker ha! s a similar background but earns about twice that amount.  A ! very lar ge proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speaking workers?
Kenner:
The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives.  And ! these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desperate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment.  But most of the food scientists ar! e trying to create things that will taste good and can be made! cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that science is used … and for whose benefit.

Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast food is very reasonably priced.  Coke is selling for less than water.  So when these things are happening, it’s easi! er for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to ! eat healthy food on a budget but it takes a greater investment! of time .  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get involved and help change the system, what would you suggest they do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch program! s in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food system in a generation.

For most Americans, the ! ideal meal is fast, cheap, and tasty. Food, Inc. examin! es the c osts of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat ! non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

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  • Loaded with 25 percent more protein than the previous version and delivers 11 grams of leucine and 13 grams of additional BCAAs
  • Designed to increase the dissolution of a critical anabolic agent by drastically reducing the size of the particles
A hilarious rockumentary in the laugh-packed tradition of THIS IS SPINAL TAP -- critics everywhere are howling the praises of HARD CORE LOGO! The punk rock band Hard Core Logo is back -- reunited and hitting the road on a last-gasp tour across the western part of the nation. As magnetic lead singer Joe Dick holds the whole tour together through sheer force of will, all the tensions and pitfalls of the rock 'n' roll lifestyle come bursting hilariously to the surface! Featuring a memorable appearance by punk rock legend Joey Ramone of The! Ramones -- settle in and enjoy this offbeat comedy as it really cranks up the laughs!Hard Core Logo is often compared to This Is Spinal Tap--and for marketing purposes, that makes sense: both are pretend documentaries about rock bands (a self-important heavy metal crew in Spinal Tap, a self-destructing punk mob in Hard Core Logo). But though Hard Core Logo can be cuttingly funny, it's not really a comedy; it's a piercing examination of friendship and betrayal, success and self-hatred, and everything that fueled punk rock. Lead singer Joe Dick (Hugh Dillon) uses false pretenses to convince guitarist Billy Tallent (Callum Keith Rennie) to reform Hard Core Logo for a reunion tour across Canada, followed by a film crew (featuring director Bruce McDonald, whose other films include Roadkill and Highway 61, as himself). Tallent agrees, but only because he expects to be joining a much more successful rock group very shortly and sees! this as a favor to Dick. As they travel from town to town, th! eir rela tionship unravels, as does the psyche of bass player John Oxenberger (John Pyper-Ferguson). The performances are astonishingly genuine; even the oafish drummer Pipefitter (Bernie Coulson) becomes three-dimensional. By the end, you'll believe in them so much as people that the band's disintegration is truly wrenching. A remarkable film, both comic and sad. --Bret Fetzer

Hard Core Logo, first published in 1992, is an epistolary novel acclaimed for its realistic depiction of the life of a punk rock band. Consisting of monologues, conversations, letters, interviews, photographs, and related paraphernalia, Hard Core Logo tells the story of Joe Dick, an unrepentant, true-blue punk rocker whose scarred ideals are renewed when his band reunites for one last shot at rock 'n' roll glory. Hard Core Logo was made into a feature film in 1996; a sequel went into production in February 2010. Michael Turner's other novels include The Pornographer's Poe! m (Soft Skull Press).

Filmmaker Bruce McDonald's adaptation of Michael Turner's novel Hard Core Logo is about a fictitious Canadian punk band's reunion tour through the great North. Times have changed since the great punk era of the late '70s. Two decades later the music is still high-energy, but the folks playing it are a bit long in the tooth and out to prove otherwise. The music is provided by Hugh Dillon and Swamp Baby, who deliver punk fare such as the accusatory "Who the Hell Do You Think You Are?," the obvious "Rock 'n' Roll Is Fat and Ugly," and the drug-infested "China White (Ten Dollar F**k)." A take on the Dead Boys' "Sonic Reducer" lacks the focus of the original, but the inclusion of the Ramones ("Touring"), Teenage Head ("Bonerack"), and Chris Spedding ("Wild Wild Women") adds a touch of authenticity. --Rob O'ConnorHard Core Logo is often compared to This Is Spinal Tap--and for marketing purposes, that makes sense: both! are pretend documentaries about rock bands (a self-important ! heavy me tal crew in Spinal Tap, a self-destructing punk mob in Hard Core Logo). But though Hard Core Logo can be cuttingly funny, it's not really a comedy; it's a piercing examination of friendship and betrayal, success and self-hatred, and everything that fueled punk rock. Lead singer Joe Dick (Hugh Dillon) uses false pretenses to convince guitarist Billy Tallent (Callum Keith Rennie) to reform Hard Core Logo for a reunion tour across Canada, followed by a film crew (featuring director Bruce McDonald, whose other films include Roadkill and Highway 61, as himself). Tallent agrees, but only because he expects to be joining a much more successful rock group very shortly and sees this as a favor to Dick. As they travel from town to town, their relationship unravels, as does the psyche of bass player John Oxenberger (John Pyper-Ferguson). The performances are astonishingly genuine; even the oafish drummer Pipefitter (Bernie Coulson) becomes three-dimen! sional. By the end, you'll believe in them so much as people that the band's disintegration is truly wrenching. A remarkable film, both comic and sad. --Bret Fetzer

Hard Core Logo, first published in 1992, is an epistolary novel acclaimed for its realistic depiction of the life of a punk rock band. Consisting of monologues, conversations, letters, interviews, photographs, and related paraphernalia, Hard Core Logo tells the story of Joe Dick, an unrepentant, true-blue punk rocker whose scarred ideals are renewed when his band reunites for one last shot at rock 'n' roll glory. Hard Core Logo was made into a feature film in 1996; a sequel went into production in February 2010. Michael Turner's other novels include The Pornographer's Poem (Soft Skull Press).

Hard Core Logo, first published in 1992, is an epistolary novel acclaimed for its realistic depiction of the life of a punk rock band. Consisting of monolog! ues, conversations, letters, interviews, photographs, and rela! ted para phernalia, Hard Core Logo tells the story of Joe Dick, an unrepentant, true-blue punk rocker whose scarred ideals are renewed when his band reunites for one last shot at rock 'n' roll glory. Hard Core Logo was made into a feature film in 1996; a sequel went into production in February 2010. Michael Turner's other novels include The Pornographer's Poem (Soft Skull Press).

Show off your allegiance to HUSTLER NATION with this authentic HUSTLER HARD CORE LOGO Belly Ring. 14 Gauge (1.6mm), 7/16" Length (11mm), 316L Surgical Grade Stainless SteelNitro-Tech Hardcore Pro Series is mega-dosed with multiple anabolic agents to deliver rapid and dramatic muscle gains for bodybuilders and athletes of all levels. In fact, advanced Nitro-Tech Hardcore Pro Series is now loaded with 25 percent more protein than the previous version and delivers 11 grams of leucine and 13 grams of additional BCAAs with every maxed-out daily dose! In addition, a key ingredient in ! Nitro-Tech Hardcore Pro Series features Micro-Diffuse Technology, designed to increase the dissolution of a critical anabolic agent by drastically reducing the size of the particles. Driven by the anabolic musclebuilding power of SynthePro, and featuring the state-of-the-art blends Nitroxen and Insulogen, Nitro-Tech Hardcore Pro Series is truly a scientifically advanced musclebuilding protein formula. In fact, subjects using the core formula in Nitro-Tech Hardcore Pro Series packed on incredibly more lean muscle than subjects using whey protein.

Yu-Gi-Oh! - Fabled Grimro - Hidden Arsenal 2 - 1st Edition - Secret Rare

Edward Scissorhands [DVD] Full Screen 10th Anniversary Edition

  • Full Screen Anniversary Edition (2005)
  • Audio Commentary by Tim Burton & Danny Elfman
  • Featurette & Concept Art
  • Languages: English, Spanish & French. Subtitles: English & Spanish
  • Original Theatrical Trailer & TV Spots
Once upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp! ), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fanta! sy, but Edward Scissorhands is more tender and personal! than th e others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fanta! stical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly! against the outsider when he starts to feel his own desires, ! particul arly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistib! le charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her,! where she hopes to help him with his pasty complexion and tho! se nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for t! he monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerOnce upon a time in a castle high on a hill lived an inventor whose greatest creation was named Edward. Although Edward had an irresistible charm, he wasn't quite perfect. The inventor's sudden death left him unfinished, with sharp shears of metal for hands. Edward lived alone in the darkness until one day a kind Avon lady took him home to live with her family. And so began Edward's fantastical adventures in a pastel paradise known as Suburbia.Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be p! erched above a pastel-colored suburb inhabited by breadwinning! husband s and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to fil! m, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret FetzerEdward Scissorhands (Full Screen Anniversary Edition), 2005 release by 20th Century Fox Home Entertainment.

Cashback

  • Art student Ben Willis develops insomnia after going through a painful break-up. To kill time, he joins a colorful cast of characters on the late shift at the local supermarket. They all have their own time-killing devices, and Ben s allows him to see the beauty of the everyday world including the people inside it especially Sharon, the quiet checkout girl, who just may hold the answer to resolvin
Art student Ben Willis develops insomnia after going through a painful break-up. To kill time he joins a colorful cast of characters on the late shift at the local supermarket. They all have their own time-killing devices and Ben s allows him to see the beauty of the everyday world including the people inside it especially Sharon the quiet checkout girl who just may hold the answer to resolving Ben s insomnia. System Requirements:Running Time: 102 minsFormat: DVD MOVIE Genre: COMEDY Rating: NR U! PC: 876964000925 Manufacturer No: 10092A slight but likable British comedy-fantasy with a touch of naughtiness, Cashback is an expanded version of director Sean Ellis' Oscar-nominated short film of the same name about a bored supermarket clerk who discovers that he has the ability to stop time. Sean Biggerstaff (from the Harry Potter franchise) is Ben, a lovelorn young man whose chronic insomnia (due to a bad breakup) forces him to bury himself in pointless and repetitive work at a local grocery store. Once there, boredom causes him to believe that he can stop time, and he enjoys long and languid fantasies about undressing and sketching the female shoppers. But reality intrudes in the form of recollections of his troubled past, as well as the lovely presence of fellow clerk Sharon (Emilia Fox), who offers the promise of love in the real world. A gentle and artfully directed independent film, Cashback doesn't run very deep in terms of emotion, but the ! special effects are clever, the cast quirky and amusing, and i! ts premi se is an appealing mix of softcore reverie and boyish longing. - Paul Gaita