Sunday, November 13, 2011

HALEY BENNETT - The Haunting of Molly Hartley AUTOGRAPH Signed 8x10 Photo

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Hitman Hart: Wrestling With Shadows - 10th Anniversary Collector's Edition

  • Never before released on DVD - Hitman Hart -Wrestling with Shadows, with bonus DVD, The Life and DEath of Owen Hart
  • "...truly a knockout film." - WALL STREET JOURNAL
  • ". . . it could be the best documentary I've ever seen." - IAN BROWN, writer/broadcaster
  • "...do yourself a favor and tune in." - L.A. Times
  • "I sat mesmerized . . . mind-boggling." - The West Australian
BEYOND THE MAT RINGSIDE - DVD MovieAt first, this behind-the-scenes documentary about professional wrestling seems as if it will be an unabashed fan's whitewash of the increasingly bizarre and popular world of "sports entertainment," as it is known. But director Barry Blaustein (a Saturday Night Live veteran who has cowritten many of Eddie Murphy's films) goes much deeper than you'd expect in a film that is at once entertaining and disturbing. By focusing on a trio of wrestlers who give him s! urprising access, Blaustein uncovers human stories that can be wrenching in their stark honesty. That's particularly true of one-time superstar Jake "the Snake" Roberts, whose career has fallen on hard times because of a crack habit; Roberts brings Blaustein along for his first encounter in several years with his grown, estranged daughter. Blaustein also goes into the lives of Terry Funk and Mick "Mankind" Foley in ways that are both revealing and, at times, upsetting. More than just a fan's appreciation, this is that rare documentary that shows you sides of a familiar subject you never knew existed. --Marshall FineBarry Blaustein's critically acclaimed documentary about wrestling takes viewers beyond the ring and into the lives of the men and women who inhabit this colorful, competitive, and surprisingly complex world. During the five years he spent working on the film, Blaustein discovered that the control wrestlers exert in the ring is often contrasted by the lack! of control they have in their own lives. Some pursue dreams--! others a re pursued by personal demons. Always relaying his love and respect for his subject matter, Blaustein travels on the open road with the wrestlers, shares their most intimate moments with their families, and witnesses their victories and defeats in the ring. 108 minutes.At first, this behind-the-scenes documentary about professional wrestling seems as if it will be an unabashed fan's whitewash of the increasingly bizarre and popular world of "sports entertainment," as it is known. But director Barry Blaustein (a Saturday Night Live veteran who has cowritten many of Eddie Murphy's films) goes much deeper than you'd expect in a film that is at once entertaining and disturbing. By focusing on a trio of wrestlers who give him surprising access, Blaustein uncovers human stories that can be wrenching in their stark honesty. That's particularly true of one-time superstar Jake "the Snake" Roberts, whose career has fallen on hard times because of a crack habit; Roberts brings ! Blaustein along for his first encounter in several years with his grown, estranged daughter. Blaustein also goes into the lives of Terry Funk and Mick "Mankind" Foley in ways that are both revealing and, at times, upsetting. More than just a fan's appreciation, this is that rare documentary that shows you sides of a familiar subject you never knew existed. --Marshall FineAt first, this behind-the-scenes documentary about professional wrestling seems as if it will be an unabashed fan's whitewash of the increasingly bizarre and popular world of "sports entertainment," as it is known. But director Barry Blaustein (a Saturday Night Live veteran who has cowritten many of Eddie Murphy's films) goes much deeper than you'd expect in a film that is at once entertaining and disturbing. By focusing on a trio of wrestlers who give him surprising access, Blaustein uncovers human stories that can be wrenching in their stark honesty. That's particularly true of one-time supe! rstar Jake "the Snake" Roberts, whose career has fallen on har! d times because of a crack habit; Roberts brings Blaustein along for his first encounter in several years with his grown, estranged daughter. Blaustein also goes into the lives of Terry Funk and Mick "Mankind" Foley in ways that are both revealing and, at times, upsetting. More than just a fan's appreciation, this is that rare documentary that shows you sides of a familiar subject you never knew existed. --Marshall FineUNREAL STORY OF PRO WRESTLING - DVD Movie"Sure, wrestling is fake," admits narrator Steve Allen. "We wouldn't have it any other way." So much for ripping the lid off pro wrestling, but fear not--there may be no dirty little secret, but there is a colorful history. Digging way back to its roots--when it was a genuine athletic event and not "a soap opera with a referee"--the slow mutation of wrestling is analyzed in generous detail from its height at the turn of the 19th century to its nadir as a carnival sideshow attraction and urban entertainment during the Dep! ression to its phoenix-like rebirth on early television to its modern-day explosion on cable. Interviews with modern stars, such as Hulk Hogan and veterans Classy Freddie Blassie and Killer Kowalski, wrestling historians, and even college professors tackle the subject from all sides, but the commentary is secondary to the spectacle provided by a rich array of clips--everything from prissy Gorgeous George's ringside sashays to midget wresting to a montage featuring the ubiquitous folding chair to the head. The Unreal Story of Pro Wrestling tends to emphasize the freak-show elements of the sport--which, granted, are much of the documentary's fun--but does capture the showmanship and crazy energy that has transformed a sideshow attraction into a gonzo spectacle in a format that manages to be informative and fun at the same time. --Sean Axmaker THE NEW Double DVD set: BRETT THE HITMAN HART
And never before released on DVD,
THE LIFE AND DEATH OF OWEN HART....

Bret Hart, five times' champion of the World Wrestling Federation, sits in a hotel room - one day before the most important fight of his life.

Sure, it's just professional wrestling, but this match is different. It will be Bret's last in the WWF, a company for whom he's been the top guy and loyal champion for years. The owner of the company, the legendary Vince McMahon, want's him out, only months after signing an unprecedented twenty years contract. Now he want's him to lose his final match as well.

It's not just another wrestling show for Bret. This fight will determine how his character 'The Hitman', wrestling's favourite good guy for the last decade, will be remembered.

Sitting in a hotel room, one day before the match. What Bret doesn't know, is that he will be the target of the biggest double cross in the history of professional wrestling.

Over the span of one year, an award winning documentary film crew followed Bret Hart. They hoped for an unprecedented look behind the scenes of the WWF. What they got was the most dramatic story in the history of wrestling.

HITMAN HART is a story about loyalty and betrayal, money and greed, dignity and disgrace. It's about fathers and sons, fans and icons, and keeping one's integrity in a world of moral uncertainty. In a word, it's a film about being human.
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NOVA - Galileo's Battle for the Heavens

  • At a time when heretics were burned alive for dissent, scientist Galileo Galilei risked his life to advance his revolutionary concepts of the universe. British actor Simon Callow (Shakespeare in Love, Four Weddings and a Funeral) brings Galileo to life, humanizing the great thinker s passion, intelligence, and arrogance while depicting his frustrations with fellow philosophers and scientists, and
Marcos (Marcos Hernandez) is the middle-aged chauffeur of Ana (Anapola Mushkadiz), daughter of a Mexican general who amuses herself by working as a prostitute in a high-end brothel. Marcos and his wife (Berta Ruiz) have kidnapped a baby for ransom but it went tragically wrong when the infant died. When he confesses his guilt to Ana, a bond of secrecy consecrated by the flesh unites them. As the police draw closer, she urges him to turn himself in but instead he seeks redemption from a higher power.Battle In Heaven, Carlos Reygadas’ follow-up to Japón, opens with a controversial oral sex scene involving beauty, Ana (Anapola Mushkadiz), and the beast, Marcos (Marcos Hernández). Marcos is Ana’s chauffeur, who has kidnapped and accidentally killed a baby. Ana, a general’s daughter by day and a prostitute by night, confides in Marcos and performs sexual favors for him in order to persuade him to turn himself in. She is too young, however, to understand Marcos’s confused mental state, and her sensitive position with him puts her in peril. Set in Mexico City, this tragic drama is as much about failed intimacy as it is about Mexican class structure, as Ana and Marcos attempt to bridge the class gap. A few explicit sex scenes show Marcos in bed with Ana or his wife (Bertha Ruiz), thus garnering it reviews that compare it to The Brown Bunny. In fact, the slow pacing and artsy, self-consciously composed shots do remind one of The Brown Bunny,! in that both films are initially interesting but grow dull as! their p lots take forever to unfold. An intriguing plot is buried under seemingly eternal panoramic shots of the city, painfully slow conversation between characters, and constant close-ups of Marcos’ face that are meant to capture his angst but only deter narrative. Nevertheless, this film’s merit is based in its experimental energy, and any director who follows up a graphic sex scene with a cut to the waving of the country’s flag (in this case Mexico’s) has my respect. --Trinie DaltonSpain released, PAL/Region 0 DVD: it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada: LANGUAGES: Spanish ( Dolby Digital 5.1 ), English ( Subtitles ), WIDESCREEN (1.85:1), SPECIAL FEATURES: Biographies, Deleted Scenes, Film Credits, Interactive Menu, SYNOPSIS: Marcos and his wife kidnap a baby for ransom money, but it goes tragically wrong when the infant dies. In another world is Ana, the daughter of the general he drives for,! who prostitutes herself for pleasure. Marcos confesses his guilt to her in his troubled search for relief. And then finds himself on his knees amidst the multitude of believers moving slowly towards the Basilica in honor of the Lady of Guadalupe. SCREENED/AWARDED AT: Cannes Film Festival, European Film Awards, ...Battle in Heaven ( Batalla en el cielo )The Brown Bunny is both a love story and a haunting portrait of a lost soul unable to forget his past. After finishing a motorcycle race in New Hampshire, Bud Clay (Vincent Gallo) loads his racing bike into the back of his van and begins a cross-country odyssey to Los Angeles, where he is to compete in another race. During his trip, he meets three very different women: Violet, a wholesome all-American gas station attendant; Lilly (Cheryl Tiegs), a fellow lost soul he connects with at a highway rest stop; and Rose, a Las Vegas prostitute. Throughout his journey, Bud can never escape his intense feelings for the love of his li! fe, Daisy (Chloë Sevigny), so he plans to reconcile with her ! when he reaches Los Angeles. Arriving in Los Angeles, Bud checks into a motel before visiting the abandoned home he once shared with Daisy. He leaves a note, hoping she will turn up at his motel room . . .Building to a notorious climax, the film presents one of the frankest portrayals of male sexuality ever seen in American cinema.After its scandalous screening at the 2004 Cannes film festival, Vincent Gallo's The Brown Bunny was cut from 118 to 92 minutes, and that made all the difference. The film that critic and long-time Cannes attendee Roger Ebert originally called "the worst film in the history of the festival" was transformed, by Gallo's judicious editing, into a perfectly acceptable if not universally respected art-house curio, widely criticized yet ripe for cult status, able to stand beside Gallo's Buffalo 66 as the work of a genuine artist with a singular vision. Yes, that vision is self-indulgent, narcissistic, and likely to turn off a majority of viewers wi! th its glacial pace and endless shots of Gallo driving, driving, and driving some more. But in portraying a melancholy motorcycle racer who drives cross-country while mourning a private loss that remains secret until the final scenes, Gallo gives us a character, and a film, that feels spiritually akin to such early '70s classics as Five Easy Pieces and Two-Lane Blacktop. It's a flawed yet ultimately moving example of maverick, unconventional cinema, and while Chloe Sevigny's explicit oral sex scene with Gallo is completely unnecessary, it's just one more element that places The Brown Bunny firmly, and refreshingly, out of the mainstream. --Jeff ShannonAt a time when heretics were burned alive for dissent, scientist Galileo Galilei risked his life to advance his revolutionary concepts of the universe. British actor Simon Callow (Shakespeare in Love, Four Weddings and a Funeral) brings Galileo to life, humanizing the great thinker’s passion, int! elligence, and arrogance while depicting his frustrations with! fellow philosophers and scientists, and with Roman Catholic church leaders.

Based on Dava Sobel’s best-selling biography Galileo’s Daughter, this two-hour film offers a vivid re-imagining of Galileo’s incredible achievements that forever changed the way we view our place in the universe. It also investigates the momentous personal and spiritual conflicts Galileo faced- most especially in defending the controversial theory that the earth revolves around the sun.

Join noted Galileo authorities and experience the remarkable life behind the discoveries, and see letters from his illegitimate daughter, Maria Celeste, a cloistered nun, have shed new light on Galileo’s pioneering telescopic observations, his fateful Inquisition trial for heresy, and life in the seventeenth century.

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Saturday, November 12, 2011

Centurion

  • AD 117. The Roman Empire stretches from Egypt to Spain, and East as far as the Black Sea. But in northern Britain, the relentless onslaught of conquest has ground to a halt in face of the guerrilla tactics of an elusive enemy: the savage and terrifying Picts. Quintus Dias (Fassbender), sole survivor of a Pictish raid on a Roman frontier fort, marches north with General Virilus (West) legendary Nin
AD 117. The Roman Empire stretches from Egypt to Spain, and East as far as the Black Sea. But in northern Britain, the relentless onslaught of conquest has ground to a halt in the face of the guerrilla tactics of an elusive enemy: the savage and terrifying Picts. Quintus Dias (Fassbinder), sole survivor of a Pictish raid on a Roman frontier fort, marches north with General Virilus' (West) legendary Ninth Legion, under orders to wipe the Picts from the face of the earth and destroy their leader Gorla! con. But when the legion is ambushed on unfamiliar ground, and Virilus taken captive, Quintus faces a desperate struggle to keep his small platoon alive behind enemy lines. Enduring the harsh terrain and evading their remorseless Pict pursuers led by the revenge hungry Pict Warrior Etain (Kurylenko), the band of soldiers race to rescue their General and to reach the safety of the Roman frontier.Centurion isn't just a rousing adventure, but a return to form for The Descent director Neil Marshall after the disappointing Doomsday. Irish actor Michael Fassbender (Inglourious Basterds) plays Quintus Dias, a Roman soldier attempting to defend the Empire against Northern England's indigenous Pict population, when they take him captive. Once General Virilus (The Wire's Dominic West), who inspires fierce devotion in his men, gets wind of the skirmish, he sets out to vanquish opposition leader Gorlacon (Ulrich Thomsen) with the aid of Etain (Quan! tum of Solace's Olga Kurylenko), a mute tracker. Though hi! s Ninth Legion, which includes Bothos (David Morrissey) and Brick (Liam Cunningham, Fassbender's Hunger costar), tracks down Quintus, the Picts slaughter most other comrades and seize Virilus, shifting the battle for conquest into a struggle for survival, a Marshall specialty since Dog Soldiers. Only Arianne (Solitary Man's Imogen Poots), a medicine woman who treats Bothos's wounds, arrives as a light in the darkness, holding out the promise of romance should Quintus make it out of Pict territory alive. Though Centurion isn't a world away from historical epics like Braveheart and Gladiator--and succumbs to some of the same genre clichés--Marshall conjures up more of a Western feel with the Romans standing in for cowboys and the Picts for Indians. There's carnage aplenty, but also stunning Highland vistas in shades of emerald and teal. And though Fassbender is a fine actor, West and Kurylenko end up stealing the show by virtue of their more ! dynamic performances. --Kathleen C. Fennessy
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Bonnie and Clyde (Two-Disc Special Edition)

  • Condition: New
  • Format: DVD
  • Closed-captioned; Color; DVD; Full Screen; Original recording remastered; Restored; Special Edition;
Depression-era drifters Clyde Barrow (Warren Beatty) and Bonnie Parker (Faye Dunaway) embark on a life of crime. They crave adventure â€" and each other. Nothing in film history has prepared us for the cascading violence to follow. We learn they can be hurt â€" and dread they can be killed. The vivid title-role performances get superb support from Michael J. Pollard, Gene Hackman and Estelle Parsons, 1967 Best Supporting Actress Academy AwardÃ' winner. Director Arthur Penn keeps the film’s tone tough but never cruel. It continually dazzles, especially in the work of cinematographer Burnett Guffey (winner of the film’s second OscarÃ') and editor Dede Allen. Generations later, it’s still a thunderous, thrilling ride. DISC 1: MOVIE Digitally Remast! ered for High-Impact Home Viewing Brilliance from Restored Original Film and Audio Elements • Theatrical Trailers Subtitles: English, Français & Korean (Main Feature. Bonus Material/Trailer May Not Be Subtitled.). DISC 2: SPECIAL FEATURES Additional Scenes • New 40th-Anniversary Commemorative Documentary in 3 Parts: Revolution! The Making of Bonnie and Clyde • The History ChannelÃ' Documentary Love and Death: The Story of Bonnie and Clyde • Warren Beatty Wardrobe Tests.One of the landmark films of the 1960s, Bonnie and Clyde changed the course of American cinema. Setting a milestone for screen violence that paved the way for Sam Peckinpah's The Wild Bunch, this exercise in mythologized biography should not be labeled as a bloodbath; as critic Pauline Kael wrote in her rave review, "it's the absence of sadism that throws the audience off balance." The film is more of a poetic ode to the Great Depression, starring the dream team of Warren Beatty and Fay! e Dunaway as the titular antiheroes, who barrel across the Sou! th and M idwest robbing banks with Clyde's brother Buck (Gene Hackman), Buck's frantic wife Blanche (Estelle Parsons), and their faithful accomplice C.W. Moss (the inimitable Michael J. Pollard). Bonnie and Clyde is an unforgettable classic that has lost none of its power since the 1967 release. --Jeff ShannonOne of the landmark films of the 1960s, Bonnie and Clyde changed the course of American cinema. Setting a milestone for screen violence that paved the way for Sam Peckinpah's The Wild Bunch, this exercise in mythologized biography should not be labeled as a bloodbath; as critic Pauline Kael wrote in her rave review, "it's the absence of sadism that throws the audience off balance." The film is more of a poetic ode to the Great Depression, starring the dream team of Warren Beatty and Faye Dunaway as the titular antiheroes, who barrel across the South and Midwest robbing banks with Clyde's brother Buck (Gene Hackman), Buck's frantic wife Blanche (Estell! e Parsons), and their faithful accomplice C.W. Moss (the inimitable Michael J. Pollard). Bonnie and Clyde is an unforgettable classic that has lost none of its power since the 1967 release. --Jeff Shannon
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Before the Devil Knows You're Dead Poster Movie German D 11x17 Philip Seymour Hoffman Ethan Hawke

  • Approx. Size: 11 x 17 Inches - 28cm x 44cm
  • Size is provided by the manufacturer and may not be exact
  • The Amazon image in this listing is a digital scan of the poster that you will receive
  • Before the Devil Knows You're Dead 11 x 17 Inches German Style D Mini Poster
  • Packaged with care and shipped in sturdy reinforced packing material
Master filmmaker Sidney Lumet directs this absorbing suspense thriller about a family facing the worst enemy of all itself. Oscar®-winner Philip Seymour Hoffman plays Andy, an overextended broker who lures his younger brother, Hank (Ethan Hawke) into a larcenous scheme: the pair will rob a suburban mom-and-pop jewelry store that appears to be the quintessential easy target. The problem is, the store owners are Andy and Hank s actual mom and pop and, when the seemingly perfect crime goes awry, the damage lands right at their doorstep! . Oscar-winner Marisa Tomei plays Andy s trophy wife, who is having a clandestine affair with Hank. The stellar cast also includes Albert Finney as the family patriarch who pursues justice at all costs, completely unaware that the culprits he is hunting are his own sons. A classy, classic heist-gone-wrong drama in the tradition of The Killing and Lumet s own The Anderson Tapes, BEFORE THE DEVIL KNOW YOU RE DEAD is smart enough to know that we often have the most to fear from those who are near and dear.Sidney Lumet’s Before the Devil Knows You’re Dead is an exceptionally dark story about a crime gone wrong and the complicated reasons behind it. Philip Seymour Hoffman and Ethan Hawke are outstanding as brothers whose mutual love-hate relationship subtly colors their agreement to rob their own parents’ jewelry store, and more explicitly affects the anxious aftermath of their villainy when their mother (Rosemary Harris) ends up shot. Hoffman’s steely, emotionall! y locked-up Andy, despite pulling down six figures as a corpor! ate exec utive, is supporting an expensive drug habit while trying to leave the country with his depressed wife, Gina (Marisa Tomei). Hank (Hawke), a whipped dog of low intelligence, owes back alimony and child support to his ex-spouse. Both men need money and agree to rip off their parents' business, a decision that goes awry and puts both men in various kinds of jeopardy while their mother remains comatose and their father (Albert Finney) lurches along trying to make sense of anything. Writer Kelly Masterson's screenplay employs a perhaps now-overly-familiar time-shifting tactic, jumping around the chronology of the story's events and replaying scenes from different vantage points. The effect is a little tedious but successfully deconstructs the film's drama in a way that shows how such terrible events are directly linked to family dysfunction, old wounds between parent and child, between siblings, that fester into full-blown tragedy. Eighty-three-year-old director Lumet (Serpic! o) employs bleached colors and scenes of blunt sexuality and violence, adding to the moral rudderlessness and banality of this airless world. If Devil feels a little reductive and insistently grim, it is also a generally persuasive work by an old master. --Tom Keogh

In the full-throttle, noir-soaked tradition of Dennis Lehane and Michael Connelly, the acclaimed young author of Bad Connection unleashes an ambitious and edgy new thriller pulsating with raw, urban energy.

Decorated NYPD Officer John Coglin always thought his picture on the front page of the newspaper would be one for the scrapbook.

That was before he had the bad luck to be forced into a witness-free, kill-or-be-killed confrontation with a drug-dealing thug. It's of no help to him that the incident took place during the run-up to a bitter mayoral election campaign, and that his adversary was sixteen years old and black.

Now, instead of another commendation, Coglin is star! ing down the barrel of a media- and politics-stoked murder rap! .

Bu t on the eve of his sure conviction arrives a fateful telephone call.

It's not the governor, but his long-lost uncle, Aidan O'Connell.

A veteran of the IRA and a recently released guest of San Quentin Penitentiary for armed-to-the-teeth robbery, Aidan offers his nephew a pardon that has nothing to do with lawyers.

Coglin is about to find out that the type of amnesty Uncle Aidan is proposing is the kind that involves a beautiful but dangerous Mafia widow, a car trunk full of M-16s, and thirty million dollars in jewels smack dab in the middle of Rockefeller Center.

Before the Devil Knows You're Dead is a highly entertaining, deliciously gritty, super-fast thriller that takes us on a cutthroat ride into an urban realm where criminal intent collides head-on with the vagaries of fate and the inscrutabilities of the human heart.Master filmmaker Sidney Lumet directs this absorbing suspense thriller about a family facing the worst enemy of all itself. Oscar®-! winner Philip Seymour Hoffman plays Andy, an overextended broker who lures his younger brother, Hank (Ethan Hawke) into a larcenous scheme: the pair will rob a suburban mom-and-pop jewelry store that appears to be the quintessential easy target. The problem is, the store owners are Andy and Hank s actual mom and pop and, when the seemingly perfect crime goes awry, the damage lands right at their doorstep. Oscar-winner Marisa Tomei plays Andy s trophy wife, who is having a clandestine affair with Hank. The stellar cast also includes Albert Finney as the family patriarch who pursues justice at all costs, completely unaware that the culprits he is hunting are his own sons. A classy, classic heist-gone-wrong drama in the tradition of The Killing and Lumet s own The Anderson Tapes, BEFORE THE DEVIL KNOW YOU RE DEAD is smart enough to know that we often have the most to fear from those who are near and dear.Sidney Lumet’s Before the Devil Knows You’re Dead is an except! ionally dark story about a crime gone wrong and the complicate! d reason s behind it. Philip Seymour Hoffman and Ethan Hawke are outstanding as brothers whose mutual love-hate relationship subtly colors their agreement to rob their own parents’ jewelry store, and more explicitly affects the anxious aftermath of their villainy when their mother (Rosemary Harris) ends up shot. Hoffman’s steely, emotionally locked-up Andy, despite pulling down six figures as a corporate executive, is supporting an expensive drug habit while trying to leave the country with his depressed wife, Gina (Marisa Tomei). Hank (Hawke), a whipped dog of low intelligence, owes back alimony and child support to his ex-spouse. Both men need money and agree to rip off their parents' business, a decision that goes awry and puts both men in various kinds of jeopardy while their mother remains comatose and their father (Albert Finney) lurches along trying to make sense of anything. Writer Kelly Masterson's screenplay employs a perhaps now-overly-familiar time-shifting tactic, ju! mping around the chronology of the story's events and replaying scenes from different vantage points. The effect is a little tedious but successfully deconstructs the film's drama in a way that shows how such terrible events are directly linked to family dysfunction, old wounds between parent and child, between siblings, that fester into full-blown tragedy. Eighty-three-year-old director Lumet (Serpico) employs bleached colors and scenes of blunt sexuality and violence, adding to the moral rudderlessness and banality of this airless world. If Devil feels a little reductive and insistently grim, it is also a generally persuasive work by an old master. --Tom KeoghHearing news of a death or marriage, consoling neighbours in sorrow or sharing their joy, looking for a husband or wife, saving turf or going fishing - Irish people have blessings and curses for every occasion, as highlighted in this book.In the full-throttle, noir-soaked tradition of Dennis Leha! ne and Michael Connelly, the acclaimed young author of Bad ! Connecti on unleashes an ambitious and edgy new thriller pulsating with raw, urban energy.

Decorated NYPD Officer John Coglin always thought his picture on the front page of the newspaper would be one for the scrapbook.

That was before he had the bad luck to be forced into a witness-free, kill-or-be-killed confrontation with a drug-dealing thug. It's of no help to him that the incident took place during the run-up to a bitter mayoral election campaign, and that his adversary was sixteen years old and black.

Now, instead of another commendation, Coglin is staring down the barrel of a media- and politics-stoked murder rap.

But on the eve of his sure conviction arrives a fateful telephone call.

It's not the governor, but his long-lost uncle, Aidan O'Connell.

A veteran of the IRA and a recently released guest of San Quentin Penitentiary for armed-to-the-teeth robbery, Aidan offers his nephew a pardon that has nothing to do with lawyers.

Coglin is about to ! find out that the type of amnesty Uncle Aidan is proposing is the kind that involves a beautiful but dangerous Mafia widow, a car trunk full of M-16s, and thirty million dollars in jewels smack dab in the middle of Rockefeller Center.

Before the Devil Knows You're Dead is a highly entertaining, deliciously gritty, super-fast thriller that takes us on a cutthroat ride into an urban realm where criminal intent collides head-on with the vagaries of fate and the inscrutabilities of the human heart.In the full-throttle, noir-soaked tradition of Dennis Lehane and Michael Connelly, the acclaimed young author of Bad Connection unleashes an ambitious and edgy new thriller pulsating with raw, urban energy.

Decorated NYPD Officer John Coglin always thought his picture on the front page of the newspaper would be one for the scrapbook.

That was before he had the bad luck to be forced into a witness-free, kill-or-be-killed confrontation with a drug-dealing thug.! It's of no help to him that the incident took place during th! e run-up to a bitter mayoral election campaign, and that his adversary was sixteen years old and black.

Now, instead of another commendation, Coglin is staring down the barrel of a media- and politics-stoked murder rap.

But on the eve of his sure conviction arrives a fateful telephone call.

It's not the governor, but his long-lost uncle, Aidan O'Connell.

A veteran of the IRA and a recently released guest of San Quentin Penitentiary for armed-to-the-teeth robbery, Aidan offers his nephew a pardon that has nothing to do with lawyers.

Coglin is about to find out that the type of amnesty Uncle Aidan is proposing is the kind that involves a beautiful but dangerous Mafia widow, a car trunk full of M-16s, and thirty million dollars in jewels smack dab in the middle of Rockefeller Center.

Before the Devil Knows You're Dead is a highly entertaining, deliciously gritty, super-fast thriller that takes us on a cutthroat ride into an urban realm where criminal inte! nt collides head-on with the vagaries of fate and the inscrutabilities of the human heart.

A deranged derelict, a crazed Vietnam vet, has been arrested for gunning down successful young lawyer Glenn Holtzmann at a corner phone booth on Eleventh Avenue -- and the suspect's brother wants p.i. Matthew Scudder to prove the madman innocent. But Scudder's curiosity and dedication are leading him to dark, unexplored places in his own heart...and to passions and secrets that could destroy everything be loves.

Before the Devil Knows You're Dead reproduction Approx. Size: 11 x 17 Inches - 28cm x 44cm German Style D mini poster print

Pop Culture Graphics, Inc is Amazon's largest source for movie and TV show memorabilia, posters and more: Offering tens of thousands of items to choose from. We also offer a full selection of framed posters..

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Armored [Blu-ray]

  • Condition: New
  • Format: Blu-ray
  • AC-3; Color; Dolby; Dubbed; Subtitled; Widescreen
A crew of officers at an armored transport security firm risk their lives when they embark on the ultimate heist.against their own company. Armed with a seemingly fool-proof plan, the men plan on making off with a fortune with harm to none. But when an unexpected witness interferes, the plan quickly unravels and all bets are off.A good cast does its best to make Armored roll, but while this heist flick certainly has its moments, it's ultimately arrested by a predictable story, cliché-ridden dialogue, and ham-fisted direction. Matt Dillon plays Mike, the leader of a sextet of guards working for an armored truck company; other members of the team are portrayed by Laurence Fishburne, Jean Reno, Skeet Ulrich, and Amaury Nolasco, but the key is newcomer Ty (Columbus Short), an Iraq War veteran ! whose parents have both died, leaving Ty to support his troubled younger brother and somehow pay the mortgage on the home their folks left behind. When Mike and the others cook up a scheme to steal a cool $42 million on their next delivery and then claim they were hijacked, Ty is dead set against it--until he goes home and is greeted by a child-welfare official who threatens to put his brother into foster care unless Ty can prove himself capable of looking after the kid (this is but one of the handy plot conveniences designed to push the story forward). Predictability is one thing, but director Nimrod Antal and screenwriter James V. Simpson's setups are so on-the-nose that Helen Keller could see what's coming ("Promise me nobody gets hurt," Ty says to Mike, which guarantees that the body count will start to mount almost instantly). Armored has some good action sequences, a gritty look, a couple of welcome surprises, and the occasional tense moment. But when the great! heist movies are recalled, from Topkapi to Sexy Bea! st, this one is unlikely to be among them. --Sam Graham


Stills from Armored (Click for larger image)











A crew of officers at an armored transport security firm risk their lives when they embark on the ultimate heist.against their own company. Armed with a seemingly fool-proof plan, the men plan on making off with a fortune with harm to none. But when an unexpected witness interferes, the plan quickly unravels and al! l bets are off.A good cast does its best to make Armored roll, but while this heist flick certainly has its moments, it's ultimately arrested by a predictable story, cliché-ridden dialogue, and ham-fisted direction. Matt Dillon plays Mike, the leader of a sextet of guards working for an armored truck company; other members of the team are portrayed by Laurence Fishburne, Jean Reno, Skeet Ulrich, and Amaury Nolasco, but the key is newcomer Ty (Columbus Short), an Iraq War veteran whose parents have both died, leaving Ty to support his troubled younger brother and somehow pay the mortgage on the home their folks left behind. When Mike and the others cook up a scheme to steal a cool $42 million on their next delivery and then claim they were hijacked, Ty is dead set against it--until he goes home and is greeted by a child-welfare official who threatens to put his brother into foster care unless Ty can prove himself capable of looking after the kid (this is but one of the handy plot conveniences designed to push the story forward). Predict! ability is one thing, but director Nimrod Antal and screenwriter James V. Simpson's setups are so on-the-nose that Helen Keller could see what's coming ("Promise me nobody gets hurt," Ty says to Mike, which guarantees that the body count will start to mount almost instantly). Armored has some good action sequences, a gritty look, a couple of welcome surprises, and the occasional tense moment. But when the great heist movies are recalled, from Topkapi to Sexy Beast, this one is unlikely to be among them. --Sam Graham


Stills from Armored (Click for larger image)












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Dolls

  • Legendary director & actor Takeshi Kitano (Brother, The Blind Swordsman: Zatoichi) departs from his usual stylish gangster thrillers to present a masterpiece that is both artistic and moving. Bound by a long red cord, a young couple wanders in search of something they have tragically forgotten. An aging yakuza boss mysteriously returns to the park where he once met his long-past girlfriend. A disf
A mysterious drifter (Josh Hartnett) and a young Japanese Warrior Yoshi (Gackt) both arrive in a town that has been terrorized by outrageous and virulent criminals. Each is obsessed with his seperate mission, and guided by the wisdom of The Bartender (Woody Harrelson) at the Horseless Horseman Saloon, the two eventually join forces to bring down the corrupt and contemptuous reign of Nicola (Ron Perlman), the awesomely evil woodcutter and his lady Alexandra (Demi Moore), a femme fatale with a secre! t past.A mysterious drifter (Josh Hartnett) and a young Japanese warrior Yoshi (Gackt) both arrive in a town that has been terrorized by outrageous and virulent criminals. Each is obsessed with his separate mission, and guided by the wisdom of The Bartender (Woody Harrelson) at the Horseless Horseman Saloon, the two eventually join forces to bring down the corrupt and contemptuous reign of Nicola (Ron Perlman), the awesomely evil woodcutter and his lady Alexandra (Demi Moore), a femme fatale with a secret past.You think your childhood was rough? Check out the opening 20 minutes of Conan the Barbarian, a bone-cracking coming-of-age prologue that fully explains the "Barbarian" part of the name. The film gets off to a ripping start, including li'l Conan's lethal dispatching of a crowd of restless natives (it's not every lad that returns from camp with the decapitated heads of his enemies dangling from his shoulders) and a great deal of hoo-hah about the forging of sword! s. As the character grows into manhood, played by Jason Momoa ! (Game of Thrones), the cascade of brutality continues: boiling oil, nose trauma, death by metal fingernails--you name it, the movie has it. The "origin story" plot is a workable way into the world of pulp writer Robert E. Howard's hero: Conan seeks vengeance for the death of his father (Ron Perlman) and pursues power-hungry Khalar Zym (Stephen Lang, enjoying the fruits of Avatar), who in turn seeks the final piece of a many-tailed magic mask, which will give him untold power. Rose McGowan is all spooky as Khalar's daughter (she's got the fingernails) and Rachel Nichols is an innocent slated to be sacrificed by the evildoers. Director Marcus Nispel rolls out the tech hardware for this relentless action picture, pumping up every sound with a digital whammy that might make your head feel it has been split in two by Conan's mighty sword (that is, if you didn't already feel that from the chaotic cutting--since the movie was originally released in uninspired 3-D, this visual! unpleasantness was enhanced in theaters). The movie's not a complete bust, but it is a fairly punishing experience. As for Momoa, he's got the pectorals, and generally comes across as a likable sort. Of course, Conan isn't supposed to be a likable sort, so his casting will likely trigger an unexpected response in viewers familiar with the 1982 version of the character. You will miss Arnold Schwarzenegger. --Robert HortonWhat happens when a man with everything a beautiful wife (Nicole Kidman), a teenage daughter (Liana Liberato) and a wealthy estate is confronted with the reality of losing it all? That is what Kyle Miller (Nicolas Cage) must come to terms with as he and his family become the victims of a vicious home invasion. Led by Elias (Ben Mendelsohn) and Jonah (Cam Gigandet), a gang of cold-blooded thugs holds Kyle and his loved ones hostage as they carry out their plans to take everything that Kyle holds dear, including his life.Kyle and Sarah Miller (Nicolas ! Cage and Nicole Kidman) are minding their own business, enjoyi! ng the f ruits of his lavish success as a diamond salesman. Well, maybe not "enjoying"--there are hints this marriage isn't exactly fulfilling either spouse. Out of the blue, a gang of jewel thieves arrive to take the couple hostage, find the loot, and threaten their teenage daughter (Liana Liberato) in the bargain. And with that setup, Trespass is off and running for 90 minutes of pretty-near nonstop crazy-time, as the thieves begin to unravel and motor-mouth Kyle tries to talk them out of whatever latest strategy they attempt. When you learn that the film is directed by Joel (Batman & Robin) Schumacher, you may assume that the tone will be lurid, and it is. But darned if Schumacher doesn't manage to make a guilty-pleasure sort of experience out of the hothouse dialogue and rampant overplaying; if this movie had been produced on a low budget with unknown actors, it would probably be hailed as a B-movie sleeper. Cage overdoes the nerd factor, but Kidman manages to find ! some eerie moments (and cinematographer Andrzej Bartkowiak sure knows how to photograph her). Adding value is the chief hostage-taker, Ben Mendelsohn, whose sinister performance in Animal Planet marked him as a villain to watch; here, he memorably tries to keep it together as he juggles his fragile brother (Cam Gigandet), a trigger-happy henchman (Dash Mihok), and a strung-out girlfriend (Jordana Spiro). For the record, the absurd plot turns are almost impossible to defend, but the movie hurtles along so insanely you may not have time to care. --Robert HortonA naïve young man assumes a dead man's identity in order to join a underworld game of Russian Roulette. The stakes are high, but the payout is more than he can resist. His only collateral is his life and however long his luck can hold. Are his odds any better than any other player in this most deadly game?In a young Republic of China, where greedy warlords fuel a period of war and strife, Hou Jie (Andy La! u) arrogantly shows no mercy to his enemies seeking refuge wit! h the be nign and compassionate Shaolin monks. After unscrupulously killing a wounded enemy, Hou Jie pays a terrible price for his actions and is forced to seek refuge in the same Shaolin Monastery he blatantly disrespected. Hou Jie s traitorous second-in-command Cao Man (Nicholas Tse) continues where the once-warlord left off, betraying his country and his own people. Hou Jie must adapt to Shaolin principles to stop the monster he created.

Bonus Features
English Dub
Deleted Scenes
US Trailers
International TrailersBased loosely on the 1982 martial arts epic Shaolin Temple, which helped to mint Jet Li as a star, this Hong Kong blockbuster from Benny Chan stars Andy Lau as a battle-weary warlord who finds refuge and then solace among the monks of a Shaolin temple. Set during the tumult of early Republican China, the story unfolds as Lau's warlord usurps his rivals, but at the cost of his daughter's life and his wife's loyalty. His spirit crushed, he decides to ato! ne for his violent past by joining a Shaolin order (which counts Jackie Chan, in a glorified cameo, as its cook). Lau's path to enlightenment is cast into doubt when he discovers that his former second-in-command (Nicholas Tse, in an enjoyably overripe performance) has enslaved the local population and forced them to unearth relics in order to pay for greater weapons. Things naturally come to a head between Lau and Tse, but the film is less concerned with sprawling martial arts battles than the emotional conflicts between and within its major players. Honor, familial loyalty, remorse, and pursuit of spiritual wholeness are cornerstones of Hong Kong action films, but the depth of the performances and screenplay (by Alan Yuen) lends rich nuances to the subjects, often at the expense of adding an extra fight scene to the picture. That's perhaps a good thing, as martial arts choreographer Corey Yuen's usual pyrotechnics are hobbled somewhat by his leads, who are fine actors but! only modest fighters, leaving the firepower to wushu champion! Wu Jing as a Shaolin elder. Chan's formidable talents are used to underscore his comic contributions to the film, and as such, are only mildly entertaining. That's also how most martial arts fans will view Shaolin, though those who value theme as well as action may find it a frequently thoughtful diversion. The Blu-ray collector's edition features a gallery of deleted scenes (mostly extended versions of scenes in the theatrical cut) and trailers, as well as a pair of by-the-books featurettes on the film's production. Slightly more interesting are a handful of interviews with the principals, which touch on the picture's historical basis and the '82 Li film, among other subjects. --Paul GaitaYou think your childhood was rough? Check out the opening 20 minutes of Conan the Barbarian, a bone-cracking coming-of-age prologue that fully explains the "Barbarian" part of the name. The film gets off to a ripping start, including li'l Conan's lethal dispatching of a crowd! of restless natives (it's not every lad that returns from camp with the decapitated heads of his enemies dangling from his shoulders) and a great deal of hoo-hah about the forging of swords. As the character grows into manhood, played by Jason Momoa (Game of Thrones), the cascade of brutality continues: boiling oil, nose trauma, death by metal fingernails--you name it, the movie has it. The "origin story" plot is a workable way into the world of pulp writer Robert E. Howard's hero: Conan seeks vengeance for the death of his father (Ron Perlman) and pursues power-hungry Khalar Zym (Stephen Lang, enjoying the fruits of Avatar), who in turn seeks the final piece of a many-tailed magic mask, which will give him untold power. Rose McGowan is all spooky as Khalar's daughter (she's got the fingernails) and Rachel Nichols is an innocent slated to be sacrificed by the evildoers. Director Marcus Nispel rolls out the tech hardware for this relentless action picture, pum! ping up every sound with a digital whammy that might make your! head fe el it has been split in two by Conan's mighty sword (that is, if you didn't already feel that from the chaotic cutting--since the movie was originally released in uninspired 3-D, this visual unpleasantness was enhanced in theaters). The movie's not a complete bust, but it is a fairly punishing experience. As for Momoa, he's got the pectorals, and generally comes across as a likable sort. Of course, Conan isn't supposed to be a likable sort, so his casting will likely trigger an unexpected response in viewers familiar with the 1982 version of the character. You will miss Arnold Schwarzenegger. --Robert HortonInspired by the everlasting emotions expressed in Japanese Bunraku doll theatre, Dolls weaves three stories delicately intertwined by the beauty of sadness. Bound by a long red cord, a young couple wanders in search of something they have tragically forgotten. An aging yakuza mysteriously returns to the park where he used to meet his long-past girlfriend. A disf! igured pop star confronts the phenomenal devotion of her biggest fanDolls is a film of extraordinary beauty and tenderness from a filmmaker chiefly associated with grave mayhem and deadpan humor. That is to say, this is not one more Takeshi Kitano movie focused on stoical cops or gangsters. The title refers most directly, but not exclusively, to the theatrical tradition of Bunraku, enacted by half-life-size dolls and their visible but shrouded onstage manipulators. Such a performance--a drama of doomed lovers--occupies the first five minutes of the film, striking a keynote that resonates as flesh-and-blood characters take up the action.

The film-proper is dominated by the all-but-wordless odyssey of a susceptible yuppie and the jilted fiancée driven mad by his desertion to marry the boss's daughter. Bound by a blood-red cord, they move hypnotically through a landscape variously urban and natural, stylized only by the breathtaking purity of light, angle, color, a! nd formal movement imposed by Kitano's compositional eye and r! igorous, fragmentary editing. Along the way we also pick up the story of an elderly gangster, haunted by memories of the lover he deserted three decades earlier and generations of "brothers" for whose deaths he was, in the accepted order of things, responsible. Another strand is added to the imagistic weave via a doll-like pop singer and a groupie blinded by devotion to her.

This is a film in which character, morality, metaphysics, and destiny are all expressed through visual rhyme and startling adjustments of perspective. It sounds abstract--and it is--but it's also heartbreaking and thrilling to behold. Kitano isn't in it, but as an artist he's all over it. His finest film, and for all its exoticism, his most accessible. --Richard T. Jameson

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