Furry Vengeance

• dvd
• movie
• dog

Sometimes, four legs are better than two. Dan (Brendan Fraser, The Mummy franchise) just moved his wife and son to the woods to take a new job with a supposedly eco-friendly housing development. But the fur and Dan's temper is sure to fly when the local critters learn of the bleak plans for their forest home and stop at nothing to halt construction. Brooke Shields (TV's Lipstick Jungle ), Matt Prokop (High School Musical 3: Senior Year), Ken Jeong (Knocked Up) and Angela Kinsey (TV's The Office ) co-star in this comedy for the whole family.Humans are out to destroy the forest in the name of progress, but the animals that live there won't go out without a fight. We've seen it before in films like Over the Hedge, but this time it's a green, eco-friendly company versus a very organized group of animals under the leadership of a clever raccoon. Dan (Brendan Fr! aser) is the project manager who has moved his family from Chicago to the middle of an Oregon forest to live on-site in the community's model home. His wife Tammy (Brooke Shields) and son Tyler (Matt Prokop) aren't particularly happy about the move, but how bad can it be for one year? When unforeseen obstacles like an inconveniently located beaver dam threaten to slow progress and put the project over budget, Dan's commitment to eco-friendly methods is tested and his son dubs him a hypocrite. The animals start fighting back in a very organized, conniving way, but all Tammy sees is that Dan is beginning to go a little bit crazy. When phase 2 of the development is unveiled and the opportunity to head up the project, along with a considerable raise, is presented to Dan, he accepts without regard for the forest animals or his family. After suffering everything from a wet crotch resulting from a chewed sprinkler line to repeated skunk sprayings, a run-in with a swarm of bees, an! d an encounter with an insistently pecking crow that almost ge! ts him k illed, Dan begins to reconsider what's really important in life. This basic plot has been the basis of many similar movies, some good, some bad, but Furry Vengeance is such a predictable, superficial gag-fest that it quickly becomes more tiresome than funny--trite doesn't really even begin to describe it. (Ages 7 and older with parental guidance due to some mildly rude humor.) --Tami HoriuchiSometimes, four legs are better than two. Dan (Brendan Fraser, The Mummy franchise) just moved his wife and son to the woods to take a new job with a supposedly eco-friendly housing development. But the fur and Dan's temper is sure to fly when the local critters learn of the bleak plans for their forest home and stop at nothing to halt construction. Brooke Shields (TV's Lipstick Jungle ), Matt Prokop (High School Musical 3: Senior Year), Ken Jeong (Knocked Up) and Angela Kinsey (TV's The Office ) co-star in this comedy for the whole family.Humans are out to destroy the fore! st in the name of progress, but the animals that live there won't go out without a fight. We've seen it before in films like Over the Hedge, but this time it's a green, eco-friendly company versus a very organized group of animals under the leadership of a clever raccoon. Dan (Brendan Fraser) is the project manager who has moved his family from Chicago to the middle of an Oregon forest to live on-site in the community's model home. His wife Tammy (Brooke Shields) and son Tyler (Matt Prokop) aren't particularly happy about the move, but how bad can it be for one year? When unforeseen obstacles like an inconveniently located beaver dam threaten to slow progress and put the project over budget, Dan's commitment to eco-friendly methods is tested and his son dubs him a hypocrite. The animals start fighting back in a very organized, conniving way, but all Tammy sees is that Dan is beginning to go a little bit crazy. When phase 2 of the development is unveiled and the oppor! tunity to head up the project, along with a considerable raise! , is pre sented to Dan, he accepts without regard for the forest animals or his family. After suffering everything from a wet crotch resulting from a chewed sprinkler line to repeated skunk sprayings, a run-in with a swarm of bees, and an encounter with an insistently pecking crow that almost gets him killed, Dan begins to reconsider what's really important in life. This basic plot has been the basis of many similar movies, some good, some bad, but Furry Vengeance is such a predictable, superficial gag-fest that it quickly becomes more tiresome than funny--trite doesn't really even begin to describe it. (Ages 7 and older with parental guidance due to some mildly rude humor.) --Tami HoriuchiSometimes, four legs are better than two. Dan (Brendan Fraser, The Mummy franchise) just moved his wife and son to the woods to take a new job with a supposedly eco-friendly housing development. But the fur and Dan's temper is sure to fly when the local critters learn of the bleak pla! ns for their forest home and stop at nothing to halt construction. Brooke Shields (TV's Lipstick Jungle ), Matt Prokop (High School Musical 3: Senior Year), Ken Jeong (Knocked Up) and Angela Kinsey (TV's The Office ) co-star in this comedy for the whole family.

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BagHead

• EACH COPY IS SIGNED AND DATED by Author/Illustrator
• Independently Published
• For ages 3-8

From the author of Good Night, Monkey Boy, the hilarious tale of a haircut gone awry!
One day Josh had a big, brown bag idea: to wear a paper bag over his head. He thought it was a good idea. His mother did not. Neither did his bus driver, his teacher, or his soccer coach. What could Josh possibly be hiding?
A surprise ending will keep kids gigglingâ€"and from taking haircuts into their own hands!


From the Hardcover edition.While the Duplass Brothers were shooting their last feature film The Puffy Chair, a crew member raised the question "what's the scariest thing you can think of?" Someone immediately said "a guy with a bag on his head staring into your window." Some agreed, but some thought it was downright ridiculous and, if anything, funny (but d! efinitely not scary). Thus, Baghead was born, an attempt to take the absurdly low-concept idea of a "guy with a bag on his head" and make a funny, truthful, endearing film that, maybe, just maybe, was a little bit scary, too.

In their indie sensation The Puffy Chair, writer/directors Mark and Jay Duplass used the retrieval of a piece of furniture to explore the relationship between a close-knit trio. Their studio follow-up represents something both fresh and familiar. Not to be confused with the children's book of the same name, Baghead retains their emphasis on character over plot mechanics, but this time they infuse their humorous approach with horror overtones. Matt (Ross Partridge), Chad (Steve Zissis), Catherine (Elise Muller), and Michelle (Greta Gerwig, who appears with Mark Duplass in Hannah Takes the Stairs) work as extras in Los Angeles. Matt convinces them to accompany him to his family cabin to write a script in which they a! ll get to star. As they collaborate, it becomes apparent that ! Chad has eyes for Michelle and that Matt and Catherine have been an on-and-off thing for years. The screenplay becomes an excuse to organize their personal and professional lives, until Michelle spots a man with a brown paper bag on his head skulking in the woods. Is he a manifestation of the emotions roiling between the quartet, a psychotic killer, or a friend playing a cruel trick? Baghead turns into a frisky take on The Blair Witch Project, except the Duplass Brothers have more than thrills in mind, since it takes a spooky dude to remind these self-absorbed actors about the importance of friendship. The concept may be slight and the execution rudimentary, but the makers of Baghead have devised an unexpectedly poignant romp. --Kathleen C. Fennessy

Amazon.com
What does one make of a movie whose plot revolves around second-rate actors who scare each other by wearing bags on their heads? This conundrum and more are exploited to stro! ng effect by young directing team Mark and Jay Duplass, in their low-budget, grade Z cult comedy, Baghead. This follow up to their debut effort, The Puffy Chair, stars two couples who head to their parents’ cabin in an attempt to make their own horror film free from the constraints of the film industry. Brothers, Matt (Ross Partridge) and Chad (Steve Zissis), host bimbos Michelle (Greta Gerwig) and Catherine (Elise Muller) on a weekend adventure that is less than intellectually stimulating. As sexual tensions increase, brown paper bags are busted out and the characters seek revenge upon each other by pretending to be masked peeping toms. This meta-narrative of a movie about the making of the movie is further confused when the bunch suspects that there is an extra baghead on the scene, a really psychotic one. A few actually scary moments add gusto to this film that mostly feels like a po’ man’s rendition of Blair Witch Project, with its hand-held c! amera stylings. Highlights throughout involve Chad, the nerdie! r, uglie r brother who manages many funny lines and boosts the humor bigtime. That Baghead is a fairly terrible film, with slow, moronic dialogue and long scenes in which little or nothing happens, may well be intentional. It’s impossible to judge. Baghead is so ripe with irony that it bags the idea that it’s cool to strive towards making a fine film, and the story gives up on trying to be good before it even tries. The characters start washed-up and stay washed-up, as does the movie. But this strange resignation that makes Baghead awful is also what makes it conceptually unique; the Duplass brothers did, after all, complete the film and release it. One wonders why directors bother making a movie that presumes itself worthy of wearing a baghead? This is Baghead’s virtueâ€"it left me feeling as if I had a bag over my head, dumb for missing some bit of subversive genius. --Trinie Dalton

---

Filmmakers Mark a! nd Jay Duplass have written a celebrity blog for us to promote their new film, Baghead.

Why the hell are we trying to make a horror film about a guy with a paper bag on his head? This, even more than “to be or not to be” was the question for myself and my brother Jay going into shooting Baghead. We had just come off of our first micro-budget feature The Puffy Chair, a sensitive, funny, quirky relationship movie that wowed Sundance, sold big, played incredibly well in theaters, DVD, and TV, and gained us favor in the indie world the world over. So, again, why would we be so stupid as to make a horror movie based around a guy with a bag on his head?

I’m still not quite sure. When I look back, what we shoul! d have done is clear… we should have made another relationsh! ip movie to cash in on Puffy’s success. But, we were compelled to make Baghead, so we did it. And then something really interesting happened. We discovered that we are hopelessly and helplessly ourselves on set. For example, even if something terrifying was happening in the horror plot, we couldn’t help training the camera on all of the little personal dynamics happening among the 4 lead characters, just like we did on The Puffy Chair. No matter how eerie or cool-looking our lighting got, we were infinitely more obsessed with the chubby guy whose advances were being rejected by the hottie girl.

About a week into filming, we realized we had something VERY different on our hands. We had a horror movie shell… “guy with bag on head comes to get 4 people in a cabin in the woods.” We all know this set-up, right? Not too original. But, we were making a highly sensitive relationship dramedy inside of this horror film because, in the end, that! ’s what Jay and I know how to do best and that’s what we love showing.

So, basically, we started panicking. How do you make a movie work that’s scary, funny, and (ultimately) endearing and touching as we understand the nature of our desperate, sweet, tragically flawed lead characters? The answer was… I hope we don’t @&*# it up.

On week 2, we happened to catch a glimpse of the film Saw on TV, and it became clearer to us how Baghead could be a really interesting film for this time frame in cinema. Saw is great in its own right, but it’s mean, it’s gory, and it’s not really scary. Somehow, the crazy sound design, gore, and effects, took the film further and further away from being actually scary. Whereas, with Baghead, we somehow stumbled into something genuinely frightening, with our $50,000 budget, no sound f/x, no score, no make-up… just a ridiculous paper bag and the question of “who the hell i! s under that bag?” So, we started to feel smart. Confident. ! Inspired in new ways. We even waxed philosophical about how brilliant we were to “come up with his concept” (that we totally lucked into, btw)…

On week 3, we finished the shoot and all looked at each other a little shell shocked. What did we just do? Is this movie even gonna work? Cut to a year later. We’re opening the film at the Sundance Film Festival and every buyer is calling us, making insanely inflated offers, asking us how we came up with such a brilliant, genre-smashing concept.

I guess it kinda comes down to the old adage our dad used to tell us… “I’d rather be lucky than good.”

--Mark & Jay Duplass

PUFFY CHAIR - DVD MovieA little boy learns that wearing a bag on his head when he gets nervous doesn't solve the problem.

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Jones New York Women's Bonder Reversible To Faux Beaver Coat, Black, Medium

• Jones new york reversible
• Bonded to faux beaver

Jones new york bonded reversible to faux beaver

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The Big Bang Theory: The Complete First Season

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

This season the Big Bang gang’s romantic universe expands. On the rebound from Penny, Leonard falls into the arms of Raj’s sister Priya. Sheldon gets a girlfriend, or rather a friend who is a girl: Amy, a dour neurobiologist who declares herself besties with Penny. Howard and Bernadette heat up. And so do Raj and Bernadette (at least in Raj’s Bollywood daydream). All in the furtherance of award-winning genius comedy. The superb sitcom The Big Bang Theory launches into its fourth season with an expanded cast and a whole new set of social dynamics to go with it. It's a little unsteady at first: Sheldon (the ever-inspired Jim Parsons) denies having a girlfriend in the similarly intellectual Amy Farrah Fowler (Mayim Bialik, a long way away from Blossom), which l! eads to several Sheldon-dominated episodes--and as marvelous a character as Sheldon is, he can be too much of a good thing. Fortunately, things soon take a clever turn: Penny (Kaley Cuoco), Howard's girlfriend Bernadette (Melissa Rauch), and Amy become, ever so awkwardly, friends, providing an ingenious counterpoint to the socially hapless quartet of Sheldon, Leonard (Johnny Galecki), Howard (Simon Helberg), and Raj (Kunal Nayyar). Amy's emotional disconnection but fervent curiosity provides a delicious variation on Sheldon (without in any way replacing him) that gooses the show up to a new level. But episodes without her are still enjoyable--this is one of the best-written and -acted comedies on television. Though there is an odd increase in bodily function humor (perhaps the writers are trying to counter the jokes about comic books and theoretical physics), inventive stories abound: Sheldon becoming obsessed with cats; Amy's complete bafflement at becoming aroused by one ! of Penny's ex-boyfriends; grappling with Wil Wheaton over 21 e! xtra sec onds of Raiders of the Lost Ark; the plundering of Sheldon's World of Warcraft account; Leonard getting involved with Raj's sister Priya (Aarti Mann), much to Raj's discomfort; and much, much more. The balance of the ensemble grows increasingly skillful over the episode, giving everyone a chance to shine. --Bret FetzerUniversity physicists Leonard and Sheldon know whether to use an integral or a differential to solve the area under a curve. But they don’t have a clue about girls. Or dating. Or clothes. Or parties. Or having fun. Or, basically, life. So when a pretty blonde named Penny moves in the apartment across the hall, the guys decide to get an education outside of the classroom. Boys, you have a lot to learn. With series creators Chuck Lorre (Two and a Half Men) and Bill Prady (The Gilmore Girls) concocting the right mix of logic and lunacy and stars Johnny Galecki (Roseanne) and Jim Parsons (Judging Amy) turning geekd! om into Phi Beta fun, The Big Bang Theory is big on laughs. And life.The delightful sitcom The Big Bang Theory revolves around a character type rarely seen on television: The alpha geek. Physicists Leonard (Johnny Galecki) and Sheldon (Jim Parsons) get their lives shaken up when an attractive young woman named Penny (Kaley Cuoco) moves in to the apartment across from theirs. The key to the show, though, is not that they both fall haplessly in love--Leonard does, but Sheldon remains impermeably aloof and caustic about anything resembling romance or human relationships in general. While the push and pull of Leonard's yearning for Penny motivates much of the series' ongoing plot, the show's real drive comes from Sheldon's fantastic combination of obsessive-compulsive neurosis and grandiose obliviousness. He's a brilliant comic creation, imperious and dorky, a seamless collaboration of clever writing and an inspired performance by Parsons. Whether Sheldon loses hi! s job for insulting his new boss, or finds his ego bruised by ! a child prodigy, or finds himself unable to bear being part of a lie that Leonard has told, he attacks the world with a relentless need to assert his supremacy--and the results are deeply funny.

The triumph of The Big Bang Theory is that everyone is written with genuine affection; what could have been a lifeless parade of stereotypes--Two Nerds and a Hot Chick--becomes instead a charming collision of cultures. The familiar stuff (computer games, comic books, social incompetence) has the grit of specificity; the show understands the difference between Halo and Halo 3, knows what the Bottle City of Kandor is, and grasps the infinite variety of ways in which a conversation can go terribly awry. (Penny gets less nuance, but Cuoco still gives her a distinctive personality.) Kudos as well to supporting players Simon Helberg and Kunal Nayyar, who bring their own variations on geekiness to the table, and to great appearances by some of Galecki's former cohorts on Rosean! ne--Sara Gilbert as geekette Leslie and Laurie Metcalf as Sheldon's fundamentalist mother. All in all, one of the most winning sitcoms in years. --Bret Fetzer

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ATL (Full Screen Edition)

• Sometimes 17-year-old Rashad and his pals hang out at the Waffle House, trying to figure out what's next after they graduate. But on Sunday nights, they know what's coming. They'll be at the Cascade roller rink: laying down moves, chillin' with friends.and for a few hours leaving what's outside outside.ATL is a Sunday night fever of laughs, drama and crunk sounds. Video director Chris Robinson ma

Sometimes 17-year-old Rashad and his pals hang out at the Waffle House, trying to figure out what's next after they graduate. But on Sunday nights, they know what's coming. They'll be at the Cascade roller rink: laying down moves, chillin' with friends...and for a few hours leaving what's outside outside. ATL is a Sunday night fever of laughs, drama and crunk sounds. Video director Chris Robinson makes his feature debut, guiding an ensemble that includes astonishingly natural movie newcomers Tip Harr! is (aka rapper T.I.), Lauren London and Antwan Andre Patton (aka Big Boi of the duo OutKast).

DVD Features:
Deleted Scenes
Featurette
Music Video
Theatrical Trailer

If you've grown weary of gangsta thrillers and violent depictions of thug life, ATL will hit you like a breath of fresh air. Based on a story by Antwone Fisher (writer and subject of the 2003 film that bears his name) and written by Tina Gordon Chism, it's essentially a contemporary African-American riff on American Graffiti, focusing on a group of teenagers on the cusp of adulthood, learning valuable life lessons as they strive to make a better future for themselves and their loved ones. The title refers to the airport designation for Atlanta, and that's where orphaned 17-year-old Rashad (Tip Harris, aka rapper T.I.) lives with his younger brother Anton (Evan Ross) and uncle George (Mykelti Williamson). They're poor like most Southside famili! es, but they're making ends meet, caring for each other and fo! rging li fe-long friendships with guys like the smart, ambitious Esquire (Jackie Long), transplanted New Yorker Brooklyn (Albert Daniels), and likable homeboy Teddy (Jason Weaver). On Sunday nights they hang at the Cascade roller rink, trying to impress the girls with their latest moves, and director Chris Robinson (veteran of many music videos) captures it all with casual momentum and genuine affection for his characters. A little too casual perhaps (the pacing sometimes lags), but with a lively mix of color and music, ATL manages to be positive and hopeful without sanitizing the harsher realities (including drugs and violence) of modern urban America. There are threats and obstacles to overcome, but ATL is all about potential, striving for goals and accepting responsibility for one's own actions. Between this and Get Rich or Die Tryin', which example would you prefer to follow? --Jeff Shannon

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Adventureland

• From thedirector of SUPERBAD comes ADVENTURELAND, a smart, witty comedy we canall relate to. When James Brennan (Jesse Eisenberg) has to cancel hisdream summer vacation and make some money for grad school, the only jobhe can get is at Adventureland, a tacky amusement park where the gamesare rigged and the rides make you hurl. But it's where he meets Em(Kristen Stewart, TWILIGHT), and his rollercoa

ADVENTURELAND - DVD MovieA sweet and slap-happy mix of indie coming-of-age drama and Judd Apatow’s scatological but heartfelt manchild comedies, Greg Mottola’s Adventureland is a winning look at the pleasures and frustrations of dead-end jobs and teenage kicks as viewed through a filter of mid-‘80s pop culture. The underutilized and always watchable Jesse Eisenberg (The Squid and the Whale) is a sheltered, introspective New York college grad who discovers that his parents’ ! financial woes will not only quash his dream of a summer in Europe (to enjoy its more “sexually permissive” nations) but require a move to Pittsburgh, where he lands a job at a dilapidated amusement park. There, he’s thrown in with a motley crew of eccentrics, small-town types and a few genuine free spirits, most notably co-worker Em (Kristen Stewart), whose complicated past proves irresistible to his repressed psyche. Mottola, who directed Superbad and episodes of the well-loved Freaks and Geeks, and who once worked in a similar park as a teen, doesn’t shy from the crude laughs that make Apatow’s features so popular, but he tempers it with a wistful tone and layered characters that hew closer to his earliest work, The Daytrippers. Though ill-matched at first, Eisenberg and Stewart make a likable on-screen couple, and they’re well-supported by a terrific cast that includes such die-hard scene-stealers as Bill Hader and Kristen Wiig as ! the park’s offbeat owners, Martin Starr as a Russian lit afi! cionado, and Ryan Reynolds as a former town tamer, now reduced to working as the park’s handyman. A soundtrack performed by underground faves Yo La Tengo and filled with a smart mix of hip cuts (Hüsker Dü, the New York Dolls, the Replacements) and period faves (Falco’s “Rock Me Amadeus”) underscores the film’s blend of tentative emotions and broad laughs. -- Paul Gaita

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Bekaert Barb Wire, 18 Ga 4 Point

• Bekaert Corp 18Ga 4Pt Barb Wire Class 3 118230
• BEKAERT CORP - WIRE DIV

BARB WIRE - DVD MovieRemember the old days, when Pamela Anderson Lee was still just a Playboy Playmate turned Baywatch babe? You know--back before the bootleg release of her infamous home video with then-husband and ne'er-do-well rocker Tommy Lee, at which time the whole world got to compare Pam's barely adequate acting chops with her formidable skill at fellatio? Yes, those were the days (1996, to be exact), when a movie like Barb Wire represented dubious progress for the busty blonde, who was determined to make as big a splash on the big-screen as she did in the world's most popular syndicated TV series. Set in the year 2017 when the Second Civil War is in full force, this sci-fi action thriller stars Pam in the title role--a leather-clad biker babe ("don't call me babe," she warns) who runs a night! club in the last free city in America. The rest of country is controlled by the "Congressional Directorate," a dictatorial superpower which suspects Barb of trafficking in black-market contraband. That gets her into plenty of trouble (and a lot of cleavage-revealing costumes), and ... well, if any of this sounds even vaguely familiar, it's because this comic book-inspired movie is really just a shamelessly breast-enhanced variation on Casablanca, with Pam Anderson in the Bogart role. Taken for what it is, it's a brazen folly with action to spare, and as guilty pleasures go it's surprisingly enjoyable. What--you were expecting Oscar material? --Jeff Shannon Studio: Uni Dist Corp. (mca) Release Date: 02/08/2011 Run time: 99 minutes Rating: RRemember the old days, when Pamela Anderson Lee was still just a Playboy Playmate turned Baywatch babe? You know--back before the bootleg release of her infamous home video with then-husband and ne'er-do-well rocker! Tommy Lee, at which time the whole world got to compare Pam's! barely adequate acting chops with her formidable skill at fellatio? Yes, those were the days (1996, to be exact), when a movie like Barb Wire represented dubious progress for the busty blonde, who was determined to make as big a splash on the big-screen as she did in the world's most popular syndicated TV series. Set in the year 2017 when the Second Civil War is in full force, this sci-fi action thriller stars Pam in the title role--a leather-clad biker babe ("don't call me babe," she warns) who runs a nightclub in the last free city in America. The rest of country is controlled by the "Congressional Directorate," a dictatorial superpower which suspects Barb of trafficking in black-market contraband. That gets her into plenty of trouble (and a lot of cleavage-revealing costumes), and ... well, if any of this sounds even vaguely familiar, it's because this comic book-inspired movie is really just a shamelessly breast-enhanced variation on Casablanca, with Pam Anderson ! in the Bogart role. Taken for what it is, it's a brazen folly with action to spare, and as guilty pleasures go it's surprisingly enjoyable. What--you were expecting Oscar material? --Jeff Shannon Barb Wire - Original Motion Picture Soundtrack Album// 1. Welcome to Planet Boom - Tommy Lee, Pamela Anderson Lee 3:58 2. She's So Free - Johnette Napolitano 2:54 3. Spill the Wine - Michael Huntchence 5:51 4. Word Up! - Gun 4:17 5. Don't Call Me Babe - Shampoo 2:58 6. Hot Child in the City - Hagfish 2:34 7. Let's All Go Together - Marion 3:08 8. Dancing Barefoot - Die Cheerleader 3:49 9. Scum - Meat Puppets In Vapourspace 5:38 10. Ca Plane Pour Moi - Mr. Ed Jumps The Gun 2:32 11. None of Your Business [Barb Wire Metal Mix] - Salt 'N' Pepa 3:31Remember the old days, when Pamela Anderson Lee was still just a Playboy Playmate turned Baywatch babe? You know--back before the bootleg release of her infamous home video with then-husband and ne'er-do-well rocker Tommy Lee, at which time the whole world got to compare Pam's barely adequate acting chops with her formidable skill at fellatio? Yes, those were the days (1996, to be exact), when a movie like Barb Wire represented dubious progress for the busty blonde, who was determined to make as big a splash on the big-screen as she did in the world's most popular syndicated TV series. Set in the year 2017 when the Second Civil War is in full force, this sci-fi action thriller stars Pam in the title role--a leather-clad biker babe ("don't call me babe," she warns) who runs a nightclub in the last free city in America. The rest of country is controlled by the "Congressional Directorate," a dict! atorial superpower which suspects Barb of trafficking in black-market contraband. That gets her into plenty of trouble (and a lot of cleavage-revealing costumes), and ... well, if any of this sounds even vaguely familiar, it's because this comic book-inspired movie is really just a shamelessly breast-enhanced variation on Casablanca, with Pam Anderson in the Bogart role. Taken for what it is, it's a brazen folly with action to spare, and as guilty pleasures go it's surprisingly enjoyable. What--you were expecting Oscar material? --Jeff Shannon Has a patented handle for easier carrying. A protective wrapper around the reel. Is strong as common barbed wire. High carbon steel wire, that needs no stretching. Will not sag, resists temperature changes. Out-last any other common 12-1/2 gauge barbed wire. Class III galvanization. 50% lighter than common barbed wire, costs 25% less.

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House of Sand and Fog

• ISBN13: 9780393338119
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

The National Book Award finalist, Oprah Book Club pick, #1 New York Times bestseller and basis for the Oscar-nominated motion picture.

A former colonel in the Iranian Air Force yearns to restore his family's dignity. A recovering alcoholic and addict down on her luck struggles to hold on to the one thing she has left. And her lover, a married cop, is driven to extremes to win her love.

In this masterpiece of American realism and Shakespearean consequence, Andre Dubus III's unforgettable charactersâ€"people with ordinary flaws, looking for a small piece of ground to stand onâ€"careen toward inevitable conflict, their tragedy painting a shockingly true pi! cture of the country we live in today.Oprah Book Club® Selection, November 2000: Andre Dubus III wastes no time in capturing the dark side of the immigrant experience in America at the end of the 20th century. House of Sand and Fog opens with a highway crew composed of several nationalities picking up litter on a hot California summer day. Massoud Amir Behrani, a former colonel in the Iranian military under the Shah, reflects on his job-search efforts since arriving in the U.S. four years before: "I have spent hundreds of dollars copying my credentials; I have worn my French suits and my Italian shoes to hand-deliver my qualifications; I have waited and then called back after the correct waiting time; but there is nothing." The father of two, Behrani has spent most of the money he brought with him from Iran on an apartment and furnishings that are too expensive, desperately trying to keep up appearances in order to enhance his daughter's chance! s of making a good marriage. Now the daughter is married, and ! on impu lse he sinks his remaining funds into a house he buys at auction, thus unwittingly putting himself and his family on a trajectory to disaster. The house, it seems, once belonged to Kathy Nicolo, a self-destructive alcoholic who wants it back. What starts out as a legal tussle soon escalates into a personal confrontation--with dire results.

Dubus tells his tragic tale from the viewpoints of the two main adversaries, Behrani and Kathy. To both of them, the house represents something more than just a place to live. For the colonel, it is a foot in the door of the American dream; for Kathy, a reminder of a kinder, gentler past. In prose that is simple yet evocative, House of Sand and Fog builds to its inevitable denouement, one that is painfully dark but unfailingly honest. --Alix Wilber

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The Heart Is Deceitful Above All Things

• Based on the novel by the mysterious and controversial JT LeRoy, Asia Argento's THE HEART IS DECEITFUL ABOVE ALL THINGS is a penetrating look at the emotional and physical bonds between mother and son. Argento, the daughter of Italian horror king Dario Argento (SUSPIRIA), directed and stars in the film, playing Sarah, a young woman addicted to sex, drugs, and danger. The movie opens as she ree

Featuring a series of loosely connected autobiographical stories, they describe the disturbing relationship between a mother and her adolescent son as she moves from lover to lover, dressing him as a girl and forcing him to shoplift. These are shocking stories of abusive love and dysfunctional sexuality, of heartbreak and of innocence lost. Once again, LeRoy's fantastical imagination and lyricism twists his haunted past into something utterly strange and magical.A series of loosely connected autobiograp! hical stories, they describe the disturbing relationship between a mother and her adolescent son as she moves from lover to lover, dressing him as a girl and forcing him to shoplift. These are shocking stories of abusive love and dysfunctional sexuality, of heartbreak and of innocence lost. Once again, LeRoy's fantastical imagination and lyricism twists his haunted past into something utterly strange and magical.A series of loosely connected autobiographical stories, they describe the disturbing relationship between a mother and her adolescent son as she moves from lover to lover, dressing him as a girl and forcing him to shoplift. These are shocking stories of abusive love and dysfunctional sexuality, of heartbreak and of innocence lost. Once again, LeRoy's fantastical imagination and lyricism twists his haunted past into something utterly strange and magical.Seven-year-old Jeremiah lived a calm, comfortable life in the care of a loving foster home until the day his young ! mother Sarah (Argento) came to take him against his will into ! her rec kless life of turmoil and depravity, between desolate truck-stops, flea bag motels, strip joints, drug den and deadbeat surrogate dads until he finds himself in the custody of his ultra-religious grandparents. Having adapted to his new life as a Christian fundamentalist, Sarah returns to claim her son. Bound by a love only a mother and son could have for each other, Sarah pulls Jeremiah further and further into her dementia. When Sarah is finally and wholly consumed by drugs, prostitution and violence, Jeremiah is forced into a desperate struggle to survive the madness of his surroundings.Asia Argento's adaptation of JT Leroy's short story collection, The Heart Is Deceitful Above All Things, still has the heartbreaking urgency of a tale about child abuse, regardless of Leroy's proven fraudulent identity. Weaving plots together from Leroy's two books, Sarah, and The Heart Is Deceitful, Argento relays the history of orphaned Jeremiah (Jimmy Bennett/Cole S! prouse), whose mother Sarah (Asia Argento) abandons him as a baby to work as a truck-stop lot lizard for her methamphetamine habit. Sarah tears Jeremiah away from a stable foster home to pathetically attempt mothering her seven-year old son. Jeremiah instantly grows up in strip clubs, drug dealers' homes, big rigs, and in the hot rod that he and his mother call home. His sadomasochistic sexual psychology also develops prematurely, informed by men who rape and beat him, and a mother whose work as a hooker requires Jeremiah's dressing up as a girl to pass as her younger sister. Enter a born again, psychotically zealous Grandfather (Peter Fonda) who takes temporary custody of Jeremiah, and the viewer begins to understand Sarah's severe rebelliousness, sensing that the punk, 23-year old prostitute may be a better parent for Jeremiah, simply because she loves him. Shot by Eric Alan Edwards (Kids, My Own Private Idaho), and with a soundtrack including Sonic Youth, Subhuman! s, Billy Corgan, and Hasil Adkins, the film has a raunchy, Sou! thern ap peal similar to that of Leroy's books. Cameos appearances by Winona Ryder and Marilyn Manson add rock star power. Argento keeps it sexy, as this is as much a story of the mother-child bond as it is about the malformation of a boy's sexual identity. True or not, The Heart is Deceitful Above All Things is a sincere yet stylized rendition of a terribly sad story. --Trinie Dalton

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