Blue Embossed Dragonfly Leather Journal - Lined

• Heavy stock ivory paper
• Embossed Dragonfly on cover
• Handmade craftsmanship
• Acid-Free, archival writing paper
• Measures 5x7"

Perfect as a gratitude journal or personal diary, this embossed dragonfly journal features classic styling and timeless charm. The leather cover features an embossed dragonfly while the acid-free paper features writing lines. The soft cover and small size makes it easy to add to your purse or bag for journaling-on-the-go. Makes a wonderful personal gift. Imported. 7Lx5W".

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Billabong Odyssey

• An extreme sports adventure! Top professional surfers scour the world's oceans to ride the biggest waves on the planet. Experience the thrills and spills of action-packed big wave surfing.Running Time: 92 min. Format: DVD MOVIE Genre: SPORTS/GAMES Rating: PG Age: 085393431921 UPC: 085393431921 Manufacturer No: 34319

No Description Available.
Genre: Sports Highlights
Rating: NR
Release Date: 20-APR-2004
Media Type: DVDIn addition to boasting one of the most astonishing opening sequences in the history of extreme-sports filmmaking, Billabong Odyssey offers a breathtaking survey of big-wave surfing at a pivotal stage in its evolution. With the advent of Jet-Ski Waverunners used for "tow-in" access to gigantic waves that paddle-surfers could never reach, this three-year, globe-trotting quest for the world's biggest waves is nothing less than spe! ctacular. As documentaries go it's a bit cruder than 2003's other surfing movie, Step Into Liquid, and many of the same world-class surfers appear in both films (including 49-year-old Ken Bradshaw, still going strong). But Billabong is unrivaled in its abundance of jaw-dropping footage--most of it shot from helicopters hovering in close proximity--showing the sheer, terrifying scale of breaking "tubes"--some reaching 100 feet--at the most challenging big-wave locations on the planet, including Maverick's at Santa Cruz, California; Cortes Bank off the Pacific Coast; "Cyclops" in Australia; Mundaka, Spain; and the treacherous "Jaws" reef on the coast of Maui, Hawaii.

While touching on various hot topics such as safety training, serious wipe-outs, swell-tracking technology, female surfers (like the great Layne Beachley), and hydrofoil surfboards (billed as "the future of the sport"), director Philip Boston applies a casual, competitive structure that's too di! ffuse and lightweight to have much impact. But when the film f! ocuses o n the climactic "Jaws" showdown between Carlos Burle and Mike Parsons, Billabong Odyssey achieves a state of raw power and spiritual intensity, culminating in Parsons' best-ever 10-point ride on a massive tube that constantly threatens to consume him. As dozens of adrenaline-junkie surfers strive for new horizons of unprecedented skill, Billabong Odyssey chronicles their efforts with amazing bird's-eye cinematography. For surfers and non-surfers alike, this movie must be seen to be believed. --Jeff Shannon

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Cellular (New Line Platinum Series)

• SUSPENSE IS ON THE LINE! After getting a frantic call on his cell phone from a kidnapped woman, a young man must battle his way through a ruthless world of lies and murder to rescue her. A fast-paced thriller in the vein of Phone Booth and Speed that will keep you riveted with edge-of-your-seat car chase scenes.Running Time: 95 min. Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating:&nbs

SUSPENSE IS ON THE LINE! After getting a frantic call on his cell phone from a kidnapped woman, a young man must battle his way through a ruthless world of lies and murder to rescue her. A fast-paced thriller in the vein of Phone Booth and Speed that will keep you riveted with edge-of-your-seat car chase scenes.

DVD Features:
Audio Commentary:with Director David Ellis, writers Larry Cohen and Chris Morgan
DVD ROM Features:Script-to-Screen
Deleted Scenes:w/optional Direct! or commentary
Featurette:3 Exciting Featurettes! "Celling Out"A look at cellphones in today's culture "Dialing Up Cellular"Making of The Film "Code of Silence: Inside the Rampart Scandal"
Theatrical Trailer

Just when you think it's getting silly, Cellular serves up another tantalizing twist. In the time-honored tradition of Sorry, Wrong Number and Wait Until Dark, Kim Basinger is well-cast as a resourceful damsel-in-distress who thwarts her kidnappers by connecting with a n'er-do-well cell-phone user (Chris Evans, later seen in The Fantastic Four) who races against time to rescue her from afar. One good cop (William H. Macy) assembles clues to uncover conspiracy, while first-time writer Chris Morgan and pulp-movie master Larry Cohen (who conceived the plot, similar to his own Phone Booth screenplay) serve up a consistently satisfying string of high-tension surprises. Jason Statham continues to prove his rising-s! tar status as the film's tenacious villain, and director David! Ellis ( Final Destination 2) takes advantage of his experience as a veteran stunt coordinator and second-unit director, making good use of locations in his native Santa Monica, and wringing credible suspense from a deliriously far-fetched premise. --Jeff Shannon

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Fakers

• FAKERS is an off-beat, funny crime caper set in the London art world. Nick Blake (Matthew Rhys Decameron, Elizabeth) owes 50,000 and has no way off paying off local crime lord Foster Wright (Art Malik - True Lies, Bond: Living Daylights). That is until he stumbles across a lost sketch by legendary Italian artist Antonio Fraccini. Problem is it's only worth 15,000!! The plan is hatched; to forg

Welcome to London! Pow! This fun, jaunty crime caper set in the London art world is slick, fun with great acting. Nick Blake (Matthew Rhys ABC s Brothers & Sisters) owes 100,000 to local crime lord Foster Wright (Art Malik - True Lies, Bond: Living Daylights). That is until he stumbles across a lost sketch by legendary Italian artist Antonio Fraccini. Problem is it's only worth £25,000!! A plan is hatched; to forge the drawing and sell it to five London galleries within an hour before anyone cottons ! onto the fact there's a scam going down. Co- stars Kate Ashfield (Shaun of the Dead).

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Good Bye, Lenin! [Russian, German][PAL][REGION 5][IMPORT]

• DVD
• PAL
• Import

Contemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Good bye, Lenin! not simply entertaining but downright refreshing. The movContemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Good bye, Lenin! not simply entertaining but downright refreshing. The movie starts in East Germany before the fall of communism; our hero, Alex (Daniel Bruhl), describes how his mother (Katrin Sass), a true believer in the communist cause, has a heart attack when she sees him being clubbed by police at a protest. She falls into a coma for eight months--during which the Berlin Wall comes down. When she awakens, her fragile heal! th must avoid any shocks, so Alex creates an illusive reality around his bedridden mother to convince her that communism is still alive. Good bye, Lenin! delicately balances wry satire with its rich investment in the lives of Alex, his mother, and other characters around them. Funny, moving, and highly recommended. --Bret FetzerContemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Good bye, Lenin! not simply entertaining but downright refreshing. The movie starts in East Germany before the fall of communism; our hero, Alex (Daniel Bruhl), describes how his mother (Katrin Sass), a true believer in the communist cause, has a heart attack when she sees him being clubbed by police at a protest. She falls into a coma for eight months--during which the Berlin Wall comes down. When she awakens, her fragile health must avoid any shocks,! so Alex creates an illusive reality around his bedridden moth! er to co nvince her that communism is still alive. Good bye, Lenin! delicately balances wry satire with its rich investment in the lives of Alex, his mother, and other characters around them. Funny, moving, and highly recommended. --Bret FetzerContemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Good bye, Lenin! not simply entertaining but downright refreshing. The movie starts in East Germany before the fall of communism; our hero, Alex (Daniel Bruhl), describes how his mother (Katrin Sass), a true believer in the communist cause, has a heart attack when she sees him being clubbed by police at a protest. She falls into a coma for eight months--during which the Berlin Wall comes down. When she awakens, her fragile health must avoid any shocks, so Alex creates an illusive reality around his bedridden mother to convince her that communism ! is still alive. Good bye, Lenin! delicately balances wry satire with its rich investment in the lives of Alex, his mother, and other characters around them. Funny, moving, and highly recommended. --Bret FetzerContemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Good bye, Lenin! not simply entertaining but downright refreshing. The movie starts in East Germany before the fall of communism; our hero, Alex (Daniel Bruhl), describes how his mother (Katrin Sass), a true believer in the communist cause, has a heart attack when she sees him being clubbed by police at a protest. She falls into a coma for eight months--during which the Berlin Wall comes down. When she awakens, her fragile health must avoid any shocks, so Alex creates an illusive reality around his bedridden mother to convince her that communism is still alive. Good b! ye, Lenin! delicately balances wry satire with its rich in! vestment in the lives of Alex, his mother, and other characters around them. Funny, moving, and highly recommended. --Bret Fetzerquando sua madre, orgogliosamente socialista nella germania dell'est, si sveglia dal coma otto mesi dopo la caduta del muro di berlino, alex recluta amici e parenti per far credere alla donna che nulla e' cambiato.This digital document is an article from Queen's Quarterly, published by Queen's Quarterly on December 22, 2003. The length of the article is 1707 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Ostalgie on film.(analysing Good Bye Lenin!)(Critical Essay)
Author: Maurice Yacowar
Publication: Queen's Quarterly (Refereed)
Date: ! December 22, 2003
Publisher: Queen's Quarterly
Volume: 110 Issue: 4 Page: 587(5)

Article Type: Critical Essay

Distributed by Thomson GaleFollowing the huge success of the 'Amelie' soundtrack, Yann Tiersen strikes back by composing the soundtrack of 'Goodbye Lenin', for the German director Wolfgang Becker. EMI/Labels. 2003.East Germany, the year 1989: A young man protests against the regime. His mother watches the police arresting him and suffers a heart attack and falls into a coma. Some months later, the GDR does not exist anymore and the mother awakes. Since she has to avoid every excitement, the son tries to set up the GDR again for her in their flat. But the world has changed a lot...

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John Carpenter's Ghosts of Mars - style A Art Poster PRINT Unknown 11x17

• Title: John Carpenter's Ghosts of Mars - style A
• Artist: Unknown
• Print
• Image Size: 11.00in. x 10.68in.
• Paper Size: 11.00in. x 17.00in.

From John Carpenter, the master of horror behind 1998's hit John Carpenter's Vampires and classics like The Thing and Halloween, comes a sci-fi thriller full of explosive action and bone-chilling suspense. Natasha Henstridge (Species) is Melanie Ballard, a headstrong police lieutenant on Mars in the year 2025. Humans have been colonizing and mining on the red planet for some time, but when Ballard and her squad are sent to a remote region to apprehend the dangerous criminal James "Desolation" Williams, played by Ice Cube (Three Kings), they discover that he's the least of their worries. The mining operations have unleashed a deadly army of Martian spirits who take over the bodies of humans and! won't stop until they destroy all invaders of their planet. With a stellar cast including Pam Grier (Jackie Brown), Jason Statham (Snatch) and Clea Duvall (The Faculty), as well as explosive special effects, John Carpenter's Ghosts of Mars is an intergalactic terror fest like you've never seen.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chry! se. Mars Police Force Lt. Ballard (Henstridge) has been sent ! to retri eve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's ! not much, but for loyal fans it's probably enough. --Jeff ShannonNASTHASHA HENSTRIDGE, PAM GRIER AND ICE CUBE MUST BATTLE IT OUT AGAINST PRIMITIVE MARTIAN GHOSTS WHO WILL STOP AT NOTHING TO ANNIHILATE THE HUMAN INVADERS WHO HAVE DISTURBED THEIR PLANET.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent t! o retrieve James "Desolation" Williams (Ice Cube), the planet! 's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff S! hannonGhosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits b! ent on reclaiming the planet, turning them into an army of se! lf-mutil ating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGhosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director! 's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky allianc! e between cops and criminals is a predictable excuse for ramp! ant batt le scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGHOSTS OF MARS/VAMPIRES 2-PACK - DVD MovieGhosts of Mars
Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various co! nnections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effect! s and some laughable dialogue), resulting in the gruesome disp! atch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff Shannon

Vampires
Talk about an opening. The first few minutes of John Carpenter's Vampires--in which James Woods's vampire killer leads a dawn raid on a New Mexico "goon nest" of bloodsuckers--not only suggests a horror movie that will not pull any punches, it even evokes some of the more disturbing dream-memories of American Westerns. Muscular and uncompromised, the sequence suggests a new Carpenter classic unraveling before one's eyes. Well, dream on. Things don't quite work out that way, but this is still a film to reckon with. There are a few serious (and surprising) misjudgments on the director's part, particularly a mishandling of Sheryl Lee's role as! a prostitute poisoned by the bite of a "master vampire" (who pretty much wiped out Woods's team of goon terminators). But aside from some weaknesses, the action is jolting, the suggested complicity of the Catholic Church in destroying monsters is provocative, and the traces of Howard Hawks's continuing influence on Carpenter's storytelling are in evidence. --Tom Keogh

Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reaso! ns unexplained) holding court in the capitol city of Chryse. ! Mars Pol ice Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief high! lights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonTitle: John Carpenter's Ghosts of Mars - style A. Artist: Unknown. Image Size: 11.00in. x 10.68in. Paper Size: 11.00in. x 17.00in. Art Poster PRINT

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Fun With My 5 Senses: Activities to Build Learning Readiness (Williamson Little Hands Series)

• Activities that build learning readiness

This title is suitable for ages 4 to 8 years. From their eyes, ears, and nose right down to their tippy toes, kids' five senses will be tingling with the fun and excitement of self-discovery. Create a storybook stew, go on a sniffing house tour, take a wide-eyed nature walk, play 'find that painting', and laze about creatively with cloud characters, giggling all the while at their newly found sensory perceptions. There's no doubt about it, the experiences and observations in this book add up to a lifetime of learning spelled fun.

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Investigating History - Butch Cassidy & the Sundance Kid (History Channel)

• The last bandit riders, Butch Cassidy and the Sundance Kid were America's most famous outlaws in 1900. Cassidy and his Wild Bunch robbed banks and trains along an outlaw trail from Wyoming to Colorado to Southern Utah. But with Pinkerton detectives pursuing, Butch and Sundance fled to South America. Trapped by Bolivian officers, they died in a bloody gunfight. Or did they? Was Butch reborn as

Paul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways to get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and lif! e is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written! by William Goldman (The Princess Bride) and directed b! y George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghPaul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways to get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that! Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and life is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe f! or the picking all over the world. Robert Redford is his more ! levelhea ded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghPaul Newman and Robert Redford set the standard for the "buddy film" with this box office smash set in the Old West. The Sundance Kid (Redford) is the frontier's fastest gun. His sidekick, Butch Cassidy (Newman), is always dreaming up new ways t! o get rich fast. If only they could blow open a baggage car without also blowing up the money-filled safe inside... Or remember that Sundance can't swim before they escape a posse by leaping off a cliff into rushing rapids... Times are changing in the west and life is getting tougher. So Butch and Sundance pack their guns, don new duds, and, with Sundance's girlfriend (Katharine Ross), head down to Bolivia. Never mind that they don't speak Spanish - they'll manage somehow. A winner of four Academy Awards (including best screenplay and best song), here is a thoroughly enjoyable blend of fact and fancy done with true affection for a bygone era and featuring the two flashiest, friendliest funniest outlaws who ever called out "hands up!"This 1969 film has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul New! man plays the legendary outlaw Butch Cassidy as an eternal opt! imist an d self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom KeoghStudio: Tcfhe Release Date: 05/10/2011 Rating: Pg13This 1969 film has never lost its popularity or its unusual ! appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more levelheaded partner, the sharpshooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the movie maintains an interesting tautnes! s, and the chemistry between Redford and Newman is rare. (A fa! ctoid: N ewman first offered the Sundance part to Jack Lemmon.) --Tom KeoghThe last bandit riders, Butch Cassidy and the Sundance Kid were America's most famous outlaws in 1900. Cassidy and his Wild Bunch robbed banks and trains along an outlaw trail from Wyoming to Colorado to Southern Utah. But with Pinkerton detectives pursuing, Butch and Sundance fled to South America. Trapped by Bolivian officers, they died in a bloody gunfight. Or did they? Was Butch reborn as William T. Phillips in Spokane 20 years later? Did the West's last badman escape the law in the end?

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Bruce Almighty (Widescreen Edition)

• TESTED

DVDBestowing Jim Carrey with godlike powers is a ripe recipe for comedy, and Bruce Almighty delivers the laughs that Carrey's mainstream fans prefer. The high-concept premise finds Carrey playing Bruce Nolan, a frustrated Buffalo TV reporter, stuck doing puff-pieces while a lesser colleague (the hilarious Steven Carell) gets the anchor job he covets. Bruce demands an explanation from God, who pays him a visit (in the serene form of Morgan Freeman) and lets Bruce take over while he takes a brief vacation. What does a petty, angry guy do when he's God? That's where Carrey has a field day, reuniting with his Ace Ventura and Liar, Liar director, Tom Shadyac, while Jennifer Aniston gamely keeps pace as Bruce's put-upon fiancée. Carrey's actually funnier before he becomes Him, and the movie delivers a sappy, safely diluted notion of faith that lacks the sincerity! of the 1977 hit Oh, God! Still, we can be thankful that Carrey took the high road and left Little Nicky to Adam Sandler. --Jeff Shannon

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