Monday, November 7, 2011

Adam Sandler's Eight Crazy Nights

  • Actors: Jamie Alcroft, Blake Clark, Norm Crosby, Ellen Albertini Dow, Carmen Filpi
  • Format: AC-3, Color, Dolby, Dubbed, DVD, Full Screen, Subtitled, Widescreen, NTSC
  • Language: English. Subtitles: English, French.
  • Region: Region 1 encoding (US and Canada only)
  • Rated PG-13
Once a happy boy, but now the town delinquent, Davey (voiced by Sandler) is given one last chance to redeem himself with his community and discover the true meaning of the holiday season. Voices of Adam Sandler along with Kevin Nealon, Rob Schneider and Jon Lovitz. VHS and DVD features the short film with Adam Sandler’s Dog "A Day with Meatball" and many Adam Sandler songs!Adam Sandler fans will find the animated movie 8 Crazy Nights to be another flowering of Sandler's absurdist goofiness. People who find Sandler completely annoying will be triply annoyed by 8 Crazy Nights,! because Sandler does the voices for three different characters: Davey Stone, a boozing, belching, self-loathing loser who hates the holidays; Whitey, a tiny old man who tries to rehabilitate Davey; and Eleanor, Whitey's neurotic twin sister, who seems not to have left her house in years. Fans will find the slapdash musical numbers and scatological humor hilarious; foes will find them tiresome and banal. But even Sandler's advocates won't care about the by-the-numbers plot of holiday redemption; you see, Davey's parents died on the first night of Hanukkah, and he just needs to cry about it. Sandler's best when he's walking that line between stupid and smart-ass. When he gets sentimental, it's trouble. --Bret FetzerADAM SANDLER'S EIGHT CRAZY NIGHTS - DVD MovieAdam Sandler fans will find the animated movie 8 Crazy Nights to be another flowering of Sandler's absurdist goofiness. People who find Sandler completely annoying will be triply annoyed by ! 8 Crazy Nights, because Sandler does the voices for three! differe nt characters: Davey Stone, a boozing, belching, self-loathing loser who hates the holidays; Whitey, a tiny old man who tries to rehabilitate Davey; and Eleanor, Whitey's neurotic twin sister, who seems not to have left her house in years. Fans will find the slapdash musical numbers and scatological humor hilarious; foes will find them tiresome and banal. But even Sandler's advocates won't care about the by-the-numbers plot of holiday redemption; you see, Davey's parents died on the first night of Hanukkah, and he just needs to cry about it. Sandler's best when he's walking that line between stupid and smart-ass. When he gets sentimental, it's trouble. --Bret FetzerStudio: Sony Pictures Home Ent Release Date: 05/20/2008 Run time: 76 minutes Rating: Pg13Adam Sandler fans will find the animated movie 8 Crazy Nights to be another flowering of Sandler's absurdist goofiness. People who find Sandler completely annoying will be triply annoyed by 8 Cra! zy Nights, because Sandler does the voices for three different characters: Davey Stone, a boozing, belching, self-loathing loser who hates the holidays; Whitey, a tiny old man who tries to rehabilitate Davey; and Eleanor, Whitey's neurotic twin sister, who seems not to have left her house in years. Fans will find the slapdash musical numbers and scatological humor hilarious; foes will find them tiresome and banal. But even Sandler's advocates won't care about the by-the-numbers plot of holiday redemption; you see, Davey's parents died on the first night of Hanukkah, and he just needs to cry about it. Sandler's best when he's walking that line between stupid and smart-ass. When he gets sentimental, it's trouble. --Bret Fetzer

Vixen (The Flappers)

  • ISBN13: 9780385740340
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

The year is 1929. New York is ruled by the Bright Young Things: flappers and socialites seeking thrills and chasing dreams in the anything-goes era of the Roaring Twenties.

Letty Larkspur and Cordelia Grey escaped their small Midwestern town for New York's glittering metropolis. All Letty wants is to see her name in lights, but she quickly discovers Manhattan is filled with pretty girls who will do anything to be a star. . . .

Cordelia is searching for the father she's never known, a man as infamous for his wild parties as he is for his shadowy schemes. Overnight, she enters a world more thrilling and glamorous than she ever could have imaginedâ€"! and more dangerous. It's a life anyone would kill for . . . and someone will.

The only person Cordelia can trust is ­Astrid Donal, a flapper who seems to have it all: money, looks, and the love of Cordelia's brother, Charlie. But Astrid's perfect veneer hides a score of family secrets.

Across the vast lawns of Long Island, in the ­illicit speakeasies of Manhattan, and on the blindingly lit stages of Broadway, the three girls' fortunes will rise and fallâ€"together and apart. From the New York Times bestselling author of The Luxe comes an epic new series set in the dizzying last summer of the Jazz Age.

The year is 1929. New York is ruled by the Bright Young Things: flappers and socialites seeking thrills and chasing dreams in the anything-goes era of the Roaring Twenties.

Letty Larkspur and Cordelia Grey escaped their small Midwestern town for New York's glittering metropolis. All Letty wants is to see her name in lights, but s! he quickly discovers Manhattan is filled with pretty girls who! will do anything to be a star…

Cordelia is searching for the father she's never known, a man as infamous for his wild parties as he is for his shadowy schemes. Overnight, she enters a world more thrilling and glamorous than she ever could have imaginedâ€"and more dangerous. It's a life anyone would kill for . . . and someone will.

The only person Cordelia can trust is Astrid Donal, a flapper who seems to have it all: money, looks, and the love of Cordelia's brother, Charlie. But Astrid's perfect veneer hides a score of family secrets.

Across the vast lawns of Long Island, in the illicit speakeasies of Manhattan, and on the blindingly lit stages of Broadway, the three girls' fortunes will rise and fallâ€"together and apart. From the New York Times bestselling author of The Luxe comes an epic new series set in the dizzying last summer of the Jazz Age.



Anna Godberson’s Playl! ist
Anna Godberson
Bright Young Things
may take place during the Jazz Age, but author Anna Godberson shows us that the tunes she prefers range from Cat Power to Prince. Check out what she loves and why. (Click on the song name to listen to a sample)




"River Deep â€" Mountain High" by Ike & Tina Turner

I spend a lot of time in a chair in front of my computer obsessively reworking sentences. This song is ecstatic and full of life and whenever I hear it I want to get up and move.

"Lived in Bars" by Cat Power
This song sounds to me like the wise, sad, tired, wired, voice of exper! ience, the kind of beauty that you can only see after you’ve! been wo rn down. That’s what Bright Young Things is all about.

"You Said Something" by PJ Harvey
This one is like an exquisite New Yorker story, perfect in its simplicity and specificity but universal in what it expresses.

"California" by Joni Mitchell
That’s where I’m from, and this is the soundtrack of my homesickness. Plus, the lyrics are literary and whip-smart and impossible for a California girl to forget.

"Go West" by Liz Phair
People like to make fun of Liz Phair these days, but her voice was the voice of my young womanhood, and “Go West” was the anthem of all to-hell-with-men, bridge-burning episodes.

"Love Me Like A Man" by Bonnie Raitt
The title says it all, and! it just gets better from there.

"Tell It Like It Is" by Etta James
Awesome plea for romantic decency, but in that raw, lusty, commanding voice. After at least four thousand listens, I still nod along like the first time.

"You Only Live Once" by The Strokes
Not to date myself, but around the time I graduated from college, this was the coolest band to mock. Who cares? In my opinion, this is the ultimate jogging song.

"I Could Never Take the Place of Your Man" by Prince
This is also an instant dance party number for meâ€"is anyone as weird and cool as Prince?

"God" by John Lennon
To me, this is the ultimate expression of an artist’s belief in self. There is something bleak, but also really cle! ar-eyed and uplifting about. Plus, it’s gorgeous.

"Bring It On Home to Me" by Sam Cooke
If I could curl up in Sam Cooke’s voice and sleep forever, I’d do it. This one is just so desperate and romantic and it sounds just like what it means.

"Like A Rolling Stone" by Bob Dylan
My parents were hippies, and I grew up in the Church Of Dylan. For a guaranteed good time, get on the freeway, roll the window down, step on the gas, and turn the volume up on this number. Please be prepared to sing along.



For the bright young things of 1929, the beautiful days seem endless, filled with romance and heartbreak, adventure and intrigue, friendship and rivalry.

After a month in New York, Cordelia Grey and Letty Larkspur are small-town girls no longer. They spend their afternoons with Astrid Donal at the Greys’ lush Long Island estate and their nights in Manhat! tan’s bustling metropolis. But Letty’s not content to be a mere socialite. She is ready at last to chase her Broadway dreamsâ€"no matter the cost.

Cordelia is still reeling from the death of her father at the hands of Thom Hale, the man she thought she loved. Now she is set to honor Darius Grey’s legacy . . . and take her revenge.

Promised to Cordelia’s half brother, Astrid is caught up in a world of dazzling jewels and glittering nightsâ€"and the sparkle is blinding. Charlie Grey is a gangster playing a dangerous game; and for Astrid, Cordelia, and Letty, the stakes could be deadly.

From the New York Times bestselling author of The Luxe comes the second book in an epic series set in the dizzying last summer of the Jazz Age.

Who set's today's new trends? At the beginning of a new millennium, who is it that defines what is fashionable, who has the true will to create, who knows how to make glamour a lifestyle? Bright You! ng Things introduces us to some of the most prominent members ! of Ameri ca's younger generation, the high-flyers who set the style, pace and attitudes of their time such as Alexandra and Alexandre von Furstenberg, Aerin Lauder and Eric Zinterhofer, Damian Loeb, Moby, Marina Rust, Andrew Lauren, Serena Altschul, to name a few. And what makes this young, dynamic, styleish group quite interesting, visible and somewhat powerful, is that they are all extremely accomplished individuals in their personal lives, as well as being very accomplished leaders in their relative fields - business, arts, literature, music, movie production, fashion designing, etc. We discover their house, interior and the lives they lead. With contributions by Bill Blass, Brooke Astor, Oscar de la Renta, Diane von Furstenberg, Anh Duong, Carolina Herrera, among others.

For the bright young things of 1929, the beautiful days seem endless, filled with romance and heartbreak, adventure and intrigue, friendship and rivalry.

After a month in New York, Cordelia Grey and! Letty Larkspur are small-town girls no longer. They spend their afternoons with Astrid Donal at the Greys’ lush Long Island estate and their nights in Manhattan’s bustling metropolis. But Letty’s not content to be a mere socialite. She is ready at last to chase her Broadway dreamsâ€"no matter the cost.

Cordelia is still reeling from the death of her father at the hands of Thom Hale, the man she thought she loved. Now she is set to honor Darius Grey’s legacy . . . and take her revenge.

Promised to Cordelia’s half brother, Astrid is caught up in a world of dazzling jewels and glittering nightsâ€"and the sparkle is blinding. Charlie Grey is a gangster playing a dangerous game; and for Astrid, Cordelia, and Letty, the stakes could be deadly.

From the New York Times bestselling author of The Luxe comes the second book in an epic series set in the dizzying last summer of the Jazz Age.

For the bright young things of 1929, the beauti! ful days seem endless, filled with romance and heartbreak, adv! enture a nd intrigue, friendship and rivalry.

After a month in New York, Cordelia Grey and Letty Larkspur are small-town girls no longer. They spend their afternoons with Astrid Donal at the Greys’ lush Long Island estate and their nights in Manhattan’s bustling metropolis. But Letty’s not content to be a mere socialite. She is ready at last to chase her Broadway dreamsâ€"no matter the cost.

Cordelia is still reeling from the death of her father at the hands of Thom Hale, the man she thought she loved. Now she is set to honor Darius Grey’s legacy . . . and take her revenge.

Promised to Cordelia’s half brother, Astrid is caught up in a world of dazzling jewels and glittering nightsâ€"and the sparkle is blinding. Charlie Grey is a gangster playing a dangerous game; and for Astrid, Cordelia, and Letty, the stakes could be deadly.

From the New York Times bestselling author of The Luxe comes the second book in an epic series set in the dizz! ying last summer of the Jazz Age.

Jazz . . . Booze . . . Boys . . . It’s a dangerous combination.
 
Every girl wants what she can’t have. Seventeen-year-old Gloria Carmody wants the flapper lifestyleâ€"and the bobbed hair, cigarettes, and music-filled nights that go with it. Now that she’s engaged to Sebastian Grey, scion of one of Chicago’s most powerful families, Gloria’s party days are over before they’ve even begun . . . or are they?
 
Clara Knowles, Gloria’s goody-two-shoes cousin, has arrived to make sure the high-society wedding comes off without a hitchâ€"but Clara isn’t as lily-white as she appears. Seems she has some dirty little secrets of her own that she’ll do anything to keep hidden. . . .
 
Lorraine Dyer, Gloria’s social-climbing best friend, is tired of living in Gloria’s shadow. When Lorraine’s envy spills over into desperate spite, no one is safe. And someone’s going to be very sorry. . . .
 
From ! debut author Jillian Larkin, VIXEN is the first novel in the s! exy, dan gerous, and ridiculously romantic new series set in the Roaring Twenties . . . when anything goes.

Halloween (Two-Disc Unrated Collector's Edition) [Blu-ray]

  • Rob Zombie (The Devil's Rejects), "modern American horror's most eccentric and surprising filmmaker," (Matt Zoller Seitz, New York Times) reinvents the ultimate slasheric, unleashing Michael Myers for a bloody rollercoaster of a rampage like fans have never seen. Including a retelling of the original story that unfolds at a breakneck pace, as well as a chilling new introduction that finally reveal
Rob Zombie's H2 (Halloween) picks up at the exact moment that 2007's box-office smash, Halloween stopped and follows the aftermath of Michael Myers's (Tyler Mane) murderous rampage through the eyes of heroine Laurie Strode (Scout Taylor Compton). Evil has a new destiny. Michael Myers is back in this terrifying sequel to Rob Zombie’s visionary re-imagining of ! Halloween. It is that time of year again, and Michael Myers has returned home to sleepy Haddonfield, Illinois to take care of some unfinished family business. Unleashing a trail of terror that only horror master Zombie can, Myers will stop at nothing to bring closure to the secrets of his twisted past. But the town's got an unlikely new hero, if they can only stay alive long enough to stop the unstoppable.Rocker turned writer-director Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher Halloween. The 1981 sequel to the Carpenter film is completely ignored here (and for good reason) in favor of an extension of the central focus of Zombie’s Halloween, and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous! encounter with brother Michael Myers (Tyler Mane) by bonding ! with She riff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate father, Dr. Loomis (Malcolm McDowell) has forsaken his connection to Laurie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of Haddonfield, driven by visions of his mother (Sheri Moon Zombie) and a single-minded urge to bond with his sister at any cost.

Aesthetically, H2 is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost (Crank 2: High Voltage), which underscores the doom-laded spiral track each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, pop-culture ironic, white trash environment his characters frequently inhabit--with the scenes between Michael and his mother. But again, his ambition! s don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will find these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ugly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is filled with cult icons like Caroline Williams (Texas Chainsaw Massacre 2), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior, and Dayton Callie (Deadwood) and left-field cameos by Howard Hess! eman and “Weird Al” Yankovic. --Paul Gaita

Rob Zombie's H2 (Halloween) picks up at the exact moment that 2007's box-office smash, Halloween stopped and follows the aftermath of Michael Myers's (Tyler Mane) murderous rampage through the eyes of heroine Laurie Strode (Scout Taylor Compton).

Evil has a new destiny. Michael Myers is back in this terrifying sequel to Rob Zombie’s visionary re-imagining of Halloween which grossed almost $80 million worldwide. It is that time of year again, and Michael Myers has returned home to sleepy Haddonfield, Illinois to take care of some unfinished family business. Unleashing a trail of terror that only horror master Zombie can, Myers will stop at nothing to bring closure to the secrets of his twisted past. But the town's got an unlikely new hero, if they can only stay alive long enough to stop the unstoppable.Rocker turned writer-direct! or Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher Halloween. The 1981 sequel to the Carpenter film is completely ignored here (and for good reason) in favor of an extension of the central focus of Zombie’s Halloween, and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous encounter with brother Michael Myers (Tyler Mane) by bonding with Sheriff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate father, Dr. Loomis (Malcolm McDowell) has forsaken his connection to Laurie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of H! addonfield, driven by visions of his mother (Sheri Moon Zombie! ) and a single-minded urge to bond with his sister at any cost.

Aesthetically, H2 is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost (Crank 2: High Voltage), which underscores the doom-laded spiral track each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, pop-culture ironic, white trash environment his characters frequently inhabit--with the scenes between Michael and his mother. But again, his ambitions don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will find these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ug! ly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is filled with cult icons like Caroline Williams (Texas Chainsaw Massacre 2), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior, and Dayton Callie (Deadwood) and left-field cameos by Howard Hesseman and “Weird Al” Yankovic. --Paul GaitaRob Zombie's H2 (Halloween) picks up at the exact moment that 2007's box-office smash, Halloween stopped and follows the aftermath of Michael Myers's (Tyler Mane) murderous rampage through the eyes of heroine Laurie Strode (Scout Taylor Compton).

Evi! l has a new destiny. Michael Myers is back in this terrifying ! sequel t o Rob Zombie’s visionary re-imagining of Halloween which grossed almost $80 million worldwide. It is that time of year again, and Michael Myers has returned home to sleepy Haddonfield, Illinois to take care of some unfinished family business. Unleashing a trail of terror that only horror master Zombie can, Myers will stop at nothing to bring closure to the secrets of his twisted past. But the town's got an unlikely new hero, if they can only stay alive long enough to stop the unstoppable.
Rocker turned writer-director Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher Halloween. The 1981 sequel to the Carpenter film is completely ignored here (and for good reason) in favor of an extension of the central focus of Zombie’s Halloween, and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode ! (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous encounter with brother Michael Myers (Tyler Mane) by bonding with Sheriff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate father, Dr. Loomis (Malcolm McDowell) has forsaken his connection to Laurie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of Haddonfield, driven by visions of his mother (Sheri Moon Zombie) and a single-minded urge to bond with his sister at any cost.

Aesthetically, H2 is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost (Crank 2: High Voltage), which underscores the doom-laded spiral track each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, p! op-culture ironic, white trash environment his characters freq! uently i nhabit--with the scenes between Michael and his mother. But again, his ambitions don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will find these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ugly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is filled with cult icons like Caroline Williams (Texas Chainsaw Massacre 2), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior! , and Dayton Callie (Deadwood) and left-field cameos by Howard Hesseman and “Weird Al” Yankovic. --Paul GaitaThe original slasher film about Michael Myers, the psychotic killer who dons a mask and terrorizes his hometown, is re-imagined by edgy director Rob Zombie.More of a supercharged revamp than a remake, Rob Zombie's take on John Carpenter's Halloween expands the back story of masked killer Michael Myers in an attempt to examine the motivation for his first deadly attack, as well as some reasons for his longevity as a horror icon. Zombie's Myers is a blank-eyed teen (played by Daeg Faerch) whose burgeoning mental problems are left unchecked in a horrific home environment; harassed by schoolmates, a randy sister, and his mother's deadbeat boyfriend (William Forsythe, terrific as usual), Myers' homicidal explosion seems inevitable, and intervention by Dr. Sam Loomis (Malcolm McDowell, who offers a fast-talking, hippiefied version of the Donald Pl! easance character) does little to impede his development into ! a mute, unstoppable killing machine (Tyler Mane) bent on finishing off the only survivor of his family's massacre--his sister, now grown into teenaged Laurie Strode (Scout Taylor-Compton). Opening up the psychological motivation of a cipher like Michael Myers is an interesting approach, but Zombie's script possesses neither a depth of character nor dialogue to offer more than a clichéd thumbnail character sketch, and devoting over a hour of the unrated cut's 120-minute-plus running time to this history feels bloated and self-indulgent (especially when compared to the lean efficiency of the Carpenter original). Zombie's Halloween isn't terribly suspenseful, either; he has a keen eye for visuals and the details of chaotic environments, but his scares are nothing more than brutal showcases for his special effects team. The end result barely surpasses the original film's numerous sequels, though the Who's Who of cult and character actors in the cast (including Zombie regulars Si! d Haig, Bill Moseley and Ken Foree, as well as Brad Dourif, Udo Kier, Clint Howard, Richard Lynch, Danny Trejo, Dee Wallace, and Danielle Harris) adds a touch of late-night monster movie charm. However, the film's best performance belongs to the director's spouse, Sheri Moon Zombie, who brings unexpected pathos to the role of Myers' downtrodden mother.

The two-disc Unrated Director's Cut offers a full disc's worth of extras that should please Zombie fans; chief among the supplemental features is his commentary, which details the film's shooting history and the numerous edits required to deliver the theatrical version. A making-of featurette offers further details of Zombie's vision for the film, and there are featurettes on his cast choices and the many masks that Myers makes while incarcerated. Seventeen deleted scenes (two of which feature Adrienne Barbeau and Tom Towles) and an alternate ending (all with Zombie's commentary) are also provided, as well as footage fro! m the casting sessions. A blooper reel, which is highlighted b! y unchec ked mischief by McDowell and Dourif, offers the set's sole moment of levity. -- Paul GaitaHephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Films directed by Rob Zombie.Rob Zombie (The Devil's Rejects), "modern American horror's most eccentric and surprising filmmaker," (Matt Zoller Seitz, New York Times) reinvents the ultimate slasher classic, unleashing Michael Myers for a bloody rollercoaster of a rampage like fans have never seen. Including a retelling of the original story tha! t unfolds at a breakneck pace, as well as a chilling new introduction that finally reveals the secrets behind Myers' disturbing childhood, Halloween breathes new life into one of film history's most terrifying tales. "It will leave you speechless" (Spooky Dan, Bloody-Disgusting).More of a supercharged revamp than a remake, Rob Zombie's take on John Carpenter's Halloween expands the back story of masked killer Michael Myers in an attempt to examine the motivation for his first deadly attack, as well as some reasons for his longevity as a horror icon. Zombie's Myers is a blank-eyed teen (played by Daeg Faerch) whose burgeoning mental problems are left unchecked in a horrific home environment; harassed by schoolmates, a randy sister, and his mother's deadbeat boyfriend (William Forsythe, terrific as usual), Myers' homicidal explosion seems inevitable, and intervention by Dr. Sam Loomis (Malcolm McDowell, who offers a fast-talking, hippiefied version of the Donald Pleasa! nce character) does little to impede his development into a mu! te, unst oppable killing machine (Tyler Mane) bent on finishing off the only survivor of his family's massacre--his sister, now grown into teenaged Laurie Strode (Scout Taylor-Compton). Opening up the psychological motivation of a cipher like Michael Myers is an interesting approach, but Zombie's script possesses neither a depth of character nor dialogue to offer more than a clichéd thumbnail character sketch, and devoting over a hour of the unrated cut's 120-minute-plus running time to this history feels bloated and self-indulgent (especially when compared to the lean efficiency of the Carpenter original). Zombie's Halloween isn't terribly suspenseful, either; he has a keen eye for visuals and the details of chaotic environments, but his scares are nothing more than brutal showcases for his special effects team. The end result barely surpasses the original film's numerous sequels, though the Who's Who of cult and character actors in the cast (including Zombie regulars Sid Ha! ig, Bill Moseley and Ken Foree, as well as Brad Dourif, Udo Kier, Clint Howard, Richard Lynch, Danny Trejo, Dee Wallace, and Danielle Harris) adds a touch of late-night monster movie charm. However, the film's best performance belongs to the director's spouse, Sheri Moon Zombie, who brings unexpected pathos to the role of Myers' downtrodden mother.

The two-disc Unrated Director's Cut offers a full disc's worth of extras that should please Zombie fans; chief among the supplemental features is his commentary, which details the film's shooting history and the numerous edits required to deliver the theatrical version. A making-of featurette offers further details of Zombie's vision for the film, and there are featurettes on his cast choices and the many masks that Myers makes while incarcerated. Seventeen deleted scenes (two of which feature Adrienne Barbeau and Tom Towles) and an alternate ending (all with Zombie's commentary) are also provided, as well as footage from th! e casting sessions. A blooper reel, which is highlighted by un! checked mischief by McDowell and Dourif, offers the set's sole moment of levity. -- Paul Gaita

Blade Trinity (Unrated Version)

  • The final battle begins and the trinity comes to an end! Blade is back and his enemies have grown in number since they resurrected their king, Dracula. Together with a new group of vampire hunters, called the Nightstalkers, led by Whistler's strong but beautiful daughter Abigail and the wise-cracking Hannibal, they must finally defeat the vampires or face inevitable extinction.Running Time: 123 mi
Get set for more action, more vampires and more Wesley Snipes in this second monster-hit installment in the Blade franchise. Aptly described by critic Roger Ebert as "a vomitorium of viscera," Blade II takes the express route to sequel success. So if you enjoyed Blade, you'll probably drool over this monster mash, which is anything but boring. Set (and filmed) in Prague, the plot finds a new crop of "Reaper" vampires threatening to implement a viral breeding program, and they're nearly! impervious to attacks by Blade (Wesley Snipes), his now-revived mentor Whistler (Kris Kristofferson), and a small army of "normal" vampires who routinely combust in a constant conflagration of spectacular special effects. It's up to Blade to conquer the über-vamps, and both Snipes and director Guillermo del Toro (Mimic) serve up a nonstop smorgasbord of intensely choreographed action, creepy makeup, and graphic ultraviolence. It's sadistic, juvenile, numbing, and--for those who dig this kind of thing--undeniably impressive. With the ever-imposing Ron Perlman as a vampire villain. --Jeff Shannon Import Blu-Ray/Region A pressing. Get set for more action, more vampires and more Wesley Snipes in this second monster-hit installment in the Blade franchise. When the world is threatened by a new and deadlier breed of super vampires, the legendary Blade and his mentor, Whistler, must join forces with the Bloodpack, an elite team of vampire warriors.Aptly descr! ibed by critic Roger Ebert as "a vomitorium of viscera," Bl! ade II takes the express route to sequel success. So if you enjoyed Blade, you'll probably drool over this monster mash, which is anything but boring. Set (and filmed) in Prague, the plot finds a new crop of "Reaper" vampires threatening to implement a viral breeding program, and they're nearly impervious to attacks by Blade (Wesley Snipes), his now-revived mentor Whistler (Kris Kristofferson), and a small army of "normal" vampires who routinely combust in a constant conflagration of spectacular special effects. It's up to Blade to conquer the über-vamps, and both Snipes and director Guillermo del Toro (Mimic) serve up a nonstop smorgasbord of intensely choreographed action, creepy makeup, and graphic ultraviolence. It's sadistic, juvenile, numbing, and--for those who dig this kind of thing--undeniably impressive. With the ever-imposing Ron Perlman as a vampire villain. --Jeff Shannon Get set for more action, more vampires and more Wesley Snipes in t! his second monster-hit installment in the Blade franchise. When the world is threatened by a new and deadlier breed of super vampires, the legendary Blade and his mentor, Whistler, must join forces with the Bloodpack, an elite team of vampire warriors.

DVD Features:
DVD ROM Features
Other:Dobly Digital EX 5.1 Surround Sound; DTS ES Surround Sound; Stereo Surround Sound

Aptly described by critic Roger Ebert as "a vomitorium of viscera," Blade II takes the express route to sequel success. So if you enjoyed Blade, you'll probably drool over this monster mash, which is anything but boring. Set (and filmed) in Prague, the plot finds a new crop of "Reaper" vampires threatening to implement a viral breeding program, and they're nearly impervious to attacks by Blade (Wesley Snipes), his now-revived mentor Whistler (Kris Kristofferson), and a small army of "normal" vampires who routinely combust in a constant conflagration of spectac! ular special effects. It's up to Blade to conquer the über! -vam ps, and both Snipes and director Guillermo del Toro (Mimic) serve up a nonstop smorgasbord of intensely choreographed action, creepy makeup, and graphic ultraviolence. It's sadistic, juvenile, numbing, and--for those who dig this kind of thing--undeniably impressive. With the ever-imposing Ron Perlman as a vampire villain. --Jeff Shannon The final battle begins and the trinity comes to an end! Blade is back and his enemies have grown in number since they resurrected their king, Dracula. Together with a new group of vampire hunters, called the Nightstalkers, led by Whistler's strong but beautiful daughter Abigail and the wise-cracking Hannibal, they must finally defeat the vampires or face inevitable extinction.Even skeptical fans of the Blade franchise will enjoy sinking their teeth into Blade: Trinity. The law of diminishing returns is in full effect here, and the franchise is wearing out its welcome, but let's face it: any movie that features Je! ssica Biel as an ass-kicking vampire slayer and Parker Posey--yes, Parker Posey!--as a vamping vampire villainess can't be all bad, right? Those lovely ladies bring equal measures of relief and grief to Blade, the half-human, half-vampire once again played, with tongue more firmly in stone-cold cheek, by Wesley Snipes. With series writer David S. Goyer in the director's chair, the film is calculated for mainstream appeal, trading suspenseful horror for campy humor and choppy, nonsensical action. The franchise still offers some intriguing ideas, however, including Drake (Dominic Purcell), the original vampire, whose blood contains the secret that could destroy all blood-suckers in a plot that incorporates a sinister "blood farm" where humans are held--and drained--in suspended animation. And Biel's wise-cracking sidekick (Ryan Reynolds) in her cadre of "Nightstalkers" provides comic relief in a series that's grown increasingly dour. All of which makes Blade: Trinity a! love-it-or-hate-it sequel... supposedly the last in a trilogy! , but th e ending suggests otherwise. --Jeff Shannon

Bloodrayne (Unrated Director's Cut)

Sunday, November 6, 2011

The Hangover Movie One Man Wolf Pack 24-by-36-Inch Poster Print

  • Movie-still poster from 2009 comedy The Hangover
  • Features Zach Galifianakis as the character Alan
  • Quote on being a one-man wolf pack printed on left corner
  • Coordinates with several other Hangover posters
  • Measures 24 by 36 inches

Vanity Fair presents 21 true stories of the new hard times

Where did all the billions go?

Commissioned by the editors at Vanity Fair magazine, The Great Hangover is an eye-opening collection of essays on the global economic crisis by fifteen of the most respected contemporary business writers in America, including:

Bryan Burrough (Barbarians at the Gate) on the atmosphere of uncertainty and fear that preceded the demise of Bear Stearns . . .

Michael Lewis (Liar's Poker) on Iceland's bizarre national implosion . . .

Mark Bowden ! (Black Hawk Down) on the decline of The New York Times and the threat to the ailing newspaper industry . . .

Mark Seal on the defining figure of the seriously tarnished New Gilded Age: the Grand Master of Greed, Bernie Madoff . . .

Along with compelling and sometimes hair-raising pieces from a dozen other Vanity Fair contributors on the recent recession's myriad villains and victimsâ€"and the worldwide impact of the financial downturn.

Phil (Bradley Cooper), Stu (Ed Helms), Alan (Zach Galifi anakis) and Doug (Justin Bartha) travel to exotic Thailand for Stu's wedding. What could go wrong? Director Todd Phillips' explosively funny follow-up to his award-winning smash hit demonstrates that though what happens in Vegas may stay in Vegas, what happens in Bangkok can hardly be imagined! Just when you were starting to sober up after The Hangover… along comes The Hangover Part II--a deft dose of hair of the dog that will k! eep fans of the original screaming with laughter once again. D! irector Todd Phillips brings back his great cast--Bradley Cooper, Zach Galifianakis, Justin Bartha, and Ed Helms for another splendid exercise in debauchery--and its painful aftermath. And perhaps surprisingly, The Hangover Part II keeps the laugh levels high. While the element of surprise is not here in the sequel, writer Craig Mazin, Scot Armstrong, and Phillips have upped the shock factor, resulting in humor that's sometimes not exactly politically correct, but is fall-down funny anyway. In The Hangover Part II, Stu (Helms) is marrying a Thai-American woman (Jamie Chung), and the entire wedding party is flying to Thailand for the ceremony. Quicker than you can say "bachelor brunch," the boys are off on some kind of mystery adventure that results in some pretty serious, and pretty hilarious repercussions. (There's an unfortunate tattoo incident, one not easily covered up; there's an unexplained monkey--in a Rolling Stones shirt--now added to the entourage; and one of! the group is missing.) The setup is familiar, but the ensemble of actors is so confident, their chemistry so easy, that the viewer enjoys their long, strange trip with bust-out-loud laughs. And you can't ask for much more in a buddy comedy. --A.T. Hurley

Vanity Fair presents 21 true stories of the new hard times

Where did all the billions go?

Commissioned by the editors at Vanity Fair magazine, The Great Hangover is an eye-opening collection of essays on the global economic crisis by fifteen of the most respected contemporary business writers in America, including:

Bryan Burrough (Barbarians at the Gate) on the atmosphere of uncertainty and fear that preceded the demise of Bear Stearns . . .

Michael Lewis (Liar's Poker) on Iceland's bizarre national implosion . . .

Mark Bowden (Black Hawk Down) on the decline of The New York Times and the threat to the ailing! newspaper industry . . .

Mark Seal on the defining fig! ure of t he seriously tarnished New Gilded Age: the Grand Master of Greed, Bernie Madoff . . .

Along with compelling and sometimes hair-raising pieces from a dozen other Vanity Fair contributors on the recent recession's myriad villains and victimsâ€"and the worldwide impact of the financial downturn.

Vanity Fair presents 21 true stories of the new hard times

Where did all the billions go?

Commissioned by the editors at Vanity Fair magazine, The Great Hangover is an eye-opening collection of essays on the global economic crisis by fifteen of the most respected contemporary business writers in America, including:

Bryan Burrough (Barbarians at the Gate) on the atmosphere of uncertainty and fear that preceded the demise of Bear Stearns . . .

Michael Lewis (Liar's Poker) on Iceland's bizarre national implosion . . .

Mark Bowden (Black Hawk Down) on the decline of The! New York Times and the threat to the ailing newspaper industry . . .

Mark Seal on the defining figure of the seriously tarnished New Gilded Age: the Grand Master of Greed, Bernie Madoff . . .

Along with compelling and sometimes hair-raising pieces from a dozen other Vanity Fair contributors on the recent recession's myriad villains and victimsâ€"and the worldwide impact of the financial downturn.

Decorate your home or office with high quality posters. The Hangover Movie One Man Wolf Pack 24-by-36-Inch Poster Print is that perfect piece that matches your style, interests, and budget.

Enron: The Smartest Guys in the Room

  • Based on the best-selling book of the same name by Fortune reporters Bethany McLean and Peter Elkind, a multidimensional study of one of the biggest business scandals in American history. The chronicle takes a look at one of the greatest corporate disasters in history, in which top executives from the 7th largest company in this country walked away with over one billion dollars, leaving investors
ENRON:SMARTEST GUYS IN THE ROOM - DVD MovieOne of the greatest scandals in American corporate history is chronicled in the riveting documentary Enron: The Smartest Guys in the Room. Based on the bestselling book by Fortune magazine reporters Bethany McLean and Peter Elkin, and directed by Alex Gibney (who also produced The Trials of Henry Kissinger), the film is an epic morality tale, drawing upon a wealth of insider interviews and archival material to show how Enron, once the na! tion's seventh largest corporate entity, essentially faked its bookkeeping to report profits that never existed. The corrupt and closely-guarded mismanagement by Enron executives (including Kenneth Lay and Jeffrey Skilling, later placed on criminal trial) is revealed through such heinous concepts as "Hypothetical Future Value" (a way of reaping fortunes based on false profit projections) and the use of offshore "shell" companies to hide the massive losses that eventually toppled the company (along with the venerable Arthur Anderson accounting firm) and left 20,000 employees jobless. As a maddening portrait of hubris and white-collar crime, Enron transcends political and corporate boundaries by showing how smart and powerful men grew blinded by greed and brought ruin upon themselves, along with thousands of otherwise innocent victims. For better and worse, it's a perfect double-feature with eye-opening 2004 documentary The Corporation. --Jeff Shannon
!

Clash of the Gods: 3 - Disc Set

  • Reacquaint yourself with myths so powerful that they remain woven into the fabric of the present world, resonating with real-life relevance.Thousands of years ago, they were used to help frame the world of the ancients, and dictate the guidelines of their societies. Today, they are often the first stories we learn as children, iconic tales where good and evil clash, and humanity and fantasy collid
Ian McKellen delivers a riveting award-winning performance as Hollywood horror director James Whale. It's 1957 and Whale's heyday as the director of Frankenstein Bride of Frankenstein and The Invisible Man is long behind him. Retired andia semi-recluse he lives his days accompanied only by images from his past. When his dour housekeeper Hannah (Lynn Redgrave) hires a handsome young gardener Clayton Boone (Brendan Fraser) the flamboyant director and simple yard man develop an unlikely friendship. Thi! s powerful and poignant relationship will change their lives forever.System Requirements:Starring Brendan Fraser Ian McKellen Lolita Davidovich Lynn Redgrave Directed by Bill Condon Running time: 105 minutes Copyright Lion's Gate 2003Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 031398833222 Manufacturer No: 71872One of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into mela! ncholy remembrance of things past. Flashbacks of lost love, Wo! rld War  I battle trauma, and glory days in Hollywood combine with Whale's present-day attraction to a newly hired yard worker (Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.

The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly ! affectionate film that succeeds on many levels. It is at once a keen glimpse of Hollywood's past, a loving tribute to James Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonOne of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into melancholy remembrance of things past. Flashbacks of lost love, ! World War I battle trauma, and glory days in Hollywood combin! e with W hale's present-day attraction to a newly hired yard worker (Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.

The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly affectionate film that succeeds on many levels. It is at onc! e a keen glimpse of Hollywood's past, a loving tribute to James Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonOne of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into melancholy remembrance of things past. Flashbacks of lost love, World War I battle trauma, and glory days in Hollywood comb! ine with Whale's present-day attraction to a newly hired yard ! worker ( Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.

The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly affectionate film that succeeds on many levels. It is at once a keen glimpse of Hollywood's past, a loving tribute to Ja! mes Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff Shannon

Previously titled Father of Frankenstein, this acclaimed novel was the basis for the 1998 film starring Sir Ian McKellen, Lynn Redgrave, and Brendan Fraser. It journeys back to 1957 Los Angeles, where James Whale, the once-famous director of such classics as Frankenstein and Bride of Frankenstein, is living in retirement, haunted by his past. Rescuing him from his too-vivid imagination is his gardener, a handsome ex-marine. The friendship between these two very different men is sometimes tentative, sometimes touching, often dangerousâ€"and always captivating.

This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

Reacquaint yourself with myths so powerful that they remain woven into the fabric of the present world, resonating! with real-life relevance.

Thousands of years ago, they! were us ed to help frame the world of the ancients, and dictate the guidelines of their societies. Today, they are often the first stories we learn as children, iconic tales in which good and evil clash, and humanity and fantasy collide. But what is the reality behind these stories? From the epic tragedy of Medusa, Greek mythology s most infamous female fiend, to Hercules, its greatest action hero, and Hades, master of the land of the dead and a god so feared no one would speak his name, explore these myths and the legendary figures who inspired them in CLASH OF THE GODS. Each episode connects ancient myths to actual historical events, as well as to events in the Bible and other cultures mythologies, gaining important historical insight from renowned scholars in search of the truth behind the legends.

This 10-part series on two discs travels back in time to reveal the stories behind some of history s most infamous mythological figures and legends including:

Zeus
! Hercules
Hades
The Minotaur
Medusa
Odysseus: Curse of the Sea
Beowulf
Tolkien s Monsters
Thor
And moreIt's paradoxical that the most heavily invented and imagined parts in this 10-episode Clash of the Gods series are so much less riveting than the simple storytelling by scholars cast to recap the myths in classroom-lecture style. In these hour-long episodes, myths are dramatized with acting that borders on farce. Men pumping their muscles and grunting or monsters' eyes glowing flaccidly into the camera lens are marked periodically by CG blood splatters and modern primitive tattoo designs blazing across the screen that do nothing for Greek myth except make it feel oafish. Even narrator Stan Bernard's rowdy, punctuated speaking style reminds one of narration for a detective show or a wrestling match instead of an educational documentary highlighting history's greatest mythic heroes. While modernizing ancient myth is a controversial topic, ! there are many reasons a television show visually explicating ! the clas sics to reach new generations is a great idea. But the erratic, hectic visual style of this series does a disservice to already-exciting stories that, according to the show's mission, explain the ancient world's belief that nature was subject to the gods. Clash of the Gods' other premise, more in keeping with its sensationalistic tone, is to expose hidden truths behind the myths.

The majority of the series devotes episodes to the rise of the Olympian gods, beginning with Zeus's battle with his father, Kronos, and the Titans. Images of Zeus with a ridiculous white lightning bolt painted across his face repeat ad nauseam throughout to supposedly show how Zeus took control of mortal earth until consumed by his "uncontrollable sex drive." Likewise, the episode "Hercules" depicts a well-oiled man in tight underwear roaming the desert to elucidate how he is the world's "ultimate superhero." Only scholars like Tom Stone, who humorously likens Hercules to Babe Ruth, or Mi! chael Fontaine from Cornell University, do any justice to the exploration of metaphorical connections between Hercules's 12-challenge quest and the ordeals humans were experiencing when the myth was popular. "Minotaur" better achieves its aim to link truths to the myth, by linking historical wars between the Cretans and Athenians to the horrific tale of the man-eating Cretan beast, deemed Athenian propaganda by historians like David George at Saint Anselm College. Also meaningful is the narrative thread in this episode about Theseus's dual fathers, one mortal and one god, and the fantastic connection between historical politicians, such as Alexander the Great, who believed that they too were conceived of two men. While "Medusa," the two-episode "Odysseus," and "Beowulf" do zilch to enlighten beyond basic redundant storytelling, the lamest episode of all is "Tolkien's Monsters," a heavy-handed look at how J.R.R. Tolkien's Middle Earth was inspired by his days in the trenches! during World War I. While the information in this series is i! nformati ve and interesting, simulated drama and footage that repeats as if the History Channel ran out of material to edit in makes for possibly the worst series on mythology out there. Save your money and read the books instead. --Trinie Dalton

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