Earth 2 - The Complete Series

• Actors: Debrah Farentino, Clancy Brown, Jessica Steen, Antonio Sabato.
• Format: Box set, Closed-captioned, Color, Dolby, Full Screen, NTSC.
• Language: English. Subtitles: English, Spanish.
• Region: Region 1 (U.S. and Canada only).
• Not Rated. Run Time: 1025 minutes.

Another Earth is an unusual hybrid of existential rumination on life choices, mind-bending sci-fi supposition, and challenging indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich! in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a tragic accident while driving drunk after celebrating her acceptance into college. The collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been identified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution an! d motivation, the constant of the alternate Earth, which has b! een stea dily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or is it Earth 1?) becomes the catalyst for her belief that she can fundamentally alter both their lives for the better, but the movie never shows its hand in how or if this might work. Another Earth is another of those high-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewe! rs, many of who may never be able to come up with a satisfying answer. --Ted FryTHE STORY CENTERS AROUND A FAMILY WITH THREE BOYS IN THE 1950S. THE ELDEST SON WITNESSES THE LOSS OF INNOCENCE.The long front lawns of summer afternoons, the flicker of sunlight as it sprays through tree branches, the volcanic surge of the Earth's interior as the planet heaves itself into being--you certainly can't say Terrence Malick lacks for visual expressiveness. The Tree of Life is Malick's long-cherished project, a film that centers on a family in 1950s Waco, Texas, yet also reaches for cosmic significance in the creation of the universe itself. The Texas memories belong to Jack (Sean Penn), a modern man seemingly ground down by the soulless glass-and-metal corporate world that surrounds him. We learn early in the film of a family loss that happened at a later time, but the flashbacks concern only the dark Eden of Jack's childhood: his games with his two younger brothers, his! frustrated, bullying father (Brad Pitt), his one-dimensionall! y radian t mother (Jessica Chastain). None of which unfolds in anything like a conventional narrative, but in a series of disconnected scenes that conjure, with poetry and specificity, a particular childhood realm. The contributions of cinematographer Emmanuel Lubezki and production designer Jack Fisk cannot be underestimated in that regard, and it should be noted that Brad Pitt contributes his best performance: strong yet haunted.

And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches are simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) an! d all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert HortonJJ Abrams and Steven Spielberg join forces in this extraordinary tale of youth, mystery, and adventure. Super 8 tells the story of six friends who witness a train wreck while making a Super 8 movie, only to learn that something unimaginable escaped during the crash. They soon discover that the only thing more mysterious than what it is, is what it wants. Experience the film that critics rave is, “filled with unstoppable imagination and visual effects to spare. It will put a spell on you.” â€" Peter Travers, Rolling StoneFew filmmakers have ever had a run at the tables like Steven Spielberg, whose output fro! m 1971's Sugarland Express to, say, 1982's E.T. ! displaye d an amazingly unforced melding of huge set pieces and small human gestures. Even at their most chaotic, they somehow felt organic. Super 8, writer-director J.J. Abrams's authorized tribute to classic Spielbergisms, hits all of the marks (Lived-in suburbia backdrop, check. Awestruck gazes upwards, check. Parental discord, check. Lens flares, amazingly huge check), but its adherence to the formula squelches much of its own potential. Appealing as it is to see a summer movie that retro-prioritizes character development over jittery quick-cut explosions, the viewer is always aware at how furiously it's working to seem effortless. Set in 1979, Abrams's script follows a group of movie-crazy kids attempting to make a zombie flick, only to have their plans cut short by a close encounter with a train derailment. As the military pours over the wreckage and neighbors start disappearing, the gang realizes that their footage contains a cameo appearance by an extremely grumpy gues! t star. For a film whose promotional campaign hinged so strongly on creating an air of mystery, Super 8 is a fairly straightforward melding of E.T. and Jurassic Park, albeit one featuring an oddly schizophrenic monster (he eats people… until he doesn't). Abrams makes his young cast shine (particularly when developing a hint of romance between leads Joel Courtney and Elle Fanning), while also providing a nice character arc for Kyle Chandler, as a widowed deputy who can see his relationship with his son slipping away. Aside from a few primo early jolts, however, the creature-feature aspects feel increasingly shoehorned in alongside the more assured coming-of-age elements. Abrams's film has more than enough bright spots to warrant a viewing, but its insistence on worshipfully following the master's playbook is a bit of a bummer. Imitation isn't always flattering. --Andrew WrightAnother Earth is an unusual hybrid of existential rumination on! life choices, mind-bending sci-fi supposition, and challengin! g indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a tragic accident while driving drunk after celebrating her acceptance into college. The collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been ident! ified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution and motivation, the constant of the alternate Earth, which has been steadily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or is it Earth 1?) becomes the catalyst for her belief that she can fundamentally alter both their lives for the better, but the movie never shows its hand in ! how or if this might work. Another Earth is another of ! those hi gh-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewers, many of who may never be able to come up with a satisfying answer. --Ted FryA science-fiction series with an ecological theme, EARTH 2 only ran for one season on NBC, and all 22 episodes of the program are collected here. In the distant future, the surface of the Earth has been largely destroyed, and mankind lives in space stations orbiting the planet. A group of space colonists, led by Devon Adair (Debrah Farentino) and John Danzinger (Clancy Brown), are sent to a far off planet to prepare it for colon! ization by the surviving population of Earth. But a mishap sends them careening off-course, crash landing thousands of miles from the proper camp site. EARTH 2 follows the band of colonists as they traverse the planet, encountering dangerous aliens and other humans who view them with distrust and suspicion. By tackling issues like ecology and colonization, EARTH 2 engages important ideas and themes in an entertaining fashion.

The Adventures of Brisco County, Jr.: The Complete Series

• Condition: New
• Format: DVD
• Box set; Closed-captioned; Color; Dolby; DVD; Subtitled; NTSC

Mud Creek, Texas, is about to get all shook up. When mysterious deaths plague the Shady Rest retirement home, it's up to an aging, cantankerous "Elvis" (Bruce Campbell) and a decrepitand black"JFK" (Ossie Davis) to defeat a 3,000-year-old-Egyptian mummy with a penchant for sucking human souls! Can the King show the world that he can still take care of business?Don Coscarelli directs and Bruce Campbell stars as the King of Camp in this intentionally over-the-top schlockfest. Bubba Ho-Tep is partially about Elvis Presley and partially about the title character, an Egyptian cowboy zombie, but mostly it is about camp. The movie is equal parts story and back story. We learn through narration and flashback how Elvis didn't really die, ending up instead in a rest home in East Texas with! JFK (played by Ossie Davis), who was dyed black and had his brain removed, presumably for reasons of national security. Campbell and Davis realize that something strange is going on when their rest-home compatriots start dropping off suspiciously. The whole movie leads up to a final showdown to the death with the Egyptian cowboy zombie who has been sucking the souls of their fellow residents because he thought no one would notice. The movie unfolds a bit slowly; it is, after all, a geriatrics-fight-Egyptian-cowboy-zombie movie. However, one wishes this self-conscious movie's pacing took its cue from the atypically fast-moving zombie instead of from the senior-citizen Elvis and JFK. In the end, though, Campbell is flawless as the aged King; his accent, intonations, glasses, and trademark karate are at the same time sincere and over the top. --Brian SaltzmanMud Creek, Texas, is about to get all shook up. When mysterious deaths plague the Shady Rest retirement ho! me, it's up to an aging, cantankerous "Elvis" (Bruce Campbell)! and a d ecrepitand black"JFK" (Ossie Davis) to defeat a 3,000-year-old-Egyptian mummy with a penchant for sucking human souls! Can the King show the world that he can still take care of business? Don Coscarelli directs and Bruce Campbell stars as the King of Camp in this intentionally over-the-top schlockfest. Bubba Ho-Tep is partially about Elvis Presley and partially about the title character, an Egyptian cowboy zombie, but mostly it is about camp. The movie is equal parts story and back story. We learn through narration and flashback how Elvis didn't really die, ending up instead in a rest home in East Texas with JFK (played by Ossie Davis), who was dyed black and had his brain removed, presumably for reasons of national security. Campbell and Davis realize that something strange is going on when their rest-home compatriots start dropping off suspiciously. The whole movie leads up to a final showdown to the death with the Egyptian cowboy zombie who has been sucking the sou! ls of their fellow residents because he thought no one would notice. The movie unfolds a bit slowly; it is, after all, a geriatrics-fight-Egyptian-cowboy-zombie movie. However, one wishes this self-conscious movie's pacing took its cue from the atypically fast-moving zombie instead of from the senior-citizen Elvis and JFK. In the end, though, Campbell is flawless as the aged King; his accent, intonations, glasses, and trademark karate are at the same time sincere and over the top. --Brian SaltzmanDon Coscarelli directs and Bruce Campbell stars as the King of Camp in this intentionally over-the-top schlockfest. Bubba Ho-Tep is partially about Elvis Presley and partially about the title character, an Egyptian cowboy zombie, but mostly it is about camp. The movie is equal parts story and back story. We learn through narration and flashback how Elvis didn't really die, ending up instead in a rest home in East Texas with JFK (played by Ossie Davis), who was dyed! black and had his brain removed, presumably for reasons of na! tional s ecurity. Campbell and Davis realize that something strange is going on when their rest-home compatriots start dropping off suspiciously. The whole movie leads up to a final showdown to the death with the Egyptian cowboy zombie who has been sucking the souls of their fellow residents because he thought no one would notice. The movie unfolds a bit slowly; it is, after all, a geriatrics-fight-Egyptian-cowboy-zombie movie. However, one wishes this self-conscious movie's pacing took its cue from the atypically fast-moving zombie instead of from the senior-citizen Elvis and JFK. In the end, though, Campbell is flawless as the aged King; his accent, intonations, glasses, and trademark karate are at the same time sincere and over the top. --Brian SaltzmanSomething evil is stirring in the small mining town of Gold Lick, and it's not happy. Guan-di, the Chinese protector of the dead with a strange affinity for bean curd, has been awakened by reckless teenagers, and now hi! s bloody crusade to wipe out the town's entire population can only be stopped by one man - Bruce Campbell (the guy who starred in all three Evil Dead movies and Bubba Ho-tep), B-move star and deadbeat ex-husband extraordinaire, who's recruited to be their unwitting savior. Thinking the whole scenario's a publicity prank, Bruce is distracted from his mission by a hot mom and fan boys aplenty-- but when our hero has to face off against a dark force more fearsome than a Hollywood agent, the laughs and screams start flying!

Includes Collectible 24-page MY NAME IS BRUCE comic book inside

Special Features:
-Feature-length commentary with director/actor Bruce Campbell and producer Mike Richardson
-Documentary: Heart of Dorkness The Making of My Name is Bruce
-Featurettes: Bruce On..., Beyond Inside the Cave: The Making of CaveAlien 2, Kif s Korner, Awkward Moments with Kif, Love Birds, Hard Truth News from Hollywood The Real Bruce Campbell
-CaveAlien 2 ! Trailer, My Name is Bruce Trailer
-Poster Art Gallery, Prop! s Art Ga llery, Photo GalleryCult film and TV star Bruce Campbell (Burn Notice) lampoons his own B-movie legacy with My Name is Bruce, an agreeably goofy horror-comedy which pits him--well, a version of him, anyway--against a malevolent Asian spirit in order to save a die-hard fan. Campbell also directed Bruce, and brings a loose, kitchen-sink vibe to the proceedings, which has teenager and die-hard Bruce Campbell fan Jeff (Taylor Sharp) kidnap his idol in order to save his small town from an ancient Chinese demon. Unfortunately, the movie Bruce Campbell is a broken-down, booze-swilling reprobate who lacks even an ounce of the insouciant charm of his screen persona in Evil Dead 2 or the Hercules series, and proves woefully inadequate in dispelling the monster. But as films ranging from Cat Ballou and My Favorite Year to Galaxy Quest and Three Amigos! have proven, the unwavering belief of a fan can bring out the h! ero in even the worst heel, and Bruce rises to the occasion in the picture's final third. Obviously, Bruce is slated towards fans of Campbell's eccentric screen c.v., and aficionados will undoubtedly appreciate the endless slew of nods to his previous films, as well as cameos by many of his co-stars, including Ted Raimi in multiple roles (one of which is a Chinese gentleman that gives Mickey Rooney in Breakfast at Tiffany's a run for his money in the stereotype department). Campbell himself remains the movie's chief selling point; his knack for physical humor (read: self-abuse) and pulpy line readings have lost none of their charm, which does much to override some of the flick's flotilla of stale gags. Campbell's sense of humor is also given free reign on the commentary track, which he shares with producer Mike Richardson; the DVD, which comes with a 24-page comic book adaptation from Dark Horse, also includes an amusing making-of featurette, as well as a ! spoofy tell-all mockumentary on the "real" Bruce Campbell, and! a trail er for the atrocious film-within-a-film, Cavealien 2. -- Paul Gaita

Stills from My Name is Bruce (Click for larger image) Based on the Bram Stoker Award nominee short story by cult author Joe R. Lansdale, Bubba Ho-tep tells the "true" story of what really did become of Elvis Presley. We find Elvis (Bruce Campbell) as an elderly resident in an East Texas rest home, who switched identities with an Elvis impersonator years before his "death", then missed his chance to switch back. Elvis teams ! up with Jack (Ossie Davis), a fellow nursing home resident who thinks that he is actually President John F. Kennedy, and the two valiant old codgers sally forth to battle an evil Egyptian entity who has chosen their long-term care facility as his happy hunting grounds.The world's favorite western/sci-fi/comedy/action cult hit rides again! Here on 8 discs is the complete series about Brisco (Bruce Campbell), a tough-as-rawhide cowpoke, debonair ladies' man and Harvard-educated smarty-britches who roams from Frisco to Jalisco in pursuit of outlaws who killed his father...and in search of a mysterious orb possessing out-of-this world powers. Hot lead and cool anachronisms await Brisco as he and his sidekicks - including Comet, the intellectual equine who doesn't know he's a horse - fight for justice in the way, way, way-out West. Put your boots in your stirrups, your tongue in your cheek and join the fun. Let's play cowboys and aliens.

DVD Features:
Audio Comme! ntary
Documentary
Featurette
Oth! erDocumentaries:The History of Brisco County: A behind-the-scenes documentary with cast and creator.
Featurette:1.) "Tools of the Trade" - mini featurettes on special aspects of the show narrated by Bruce Campbell. 2.) "A Brisco County Writer's Room" - Roundtable discussion with the writers & producers fo Adventures of Brisco County, Jr.
Other:1.) "A Reading From The Book of Bruce" 2.) "Brisco's Book of Coming Things" - interactive menu launching mini-featurettes about the signature references to futuristic elements of the show, narrated by Bruce Campbell.

A science fiction-Western and comedy-drama with echoes of The Wild Wild West and Raiders of the Lost Ark, The Adventures of Brisco County Jr.: The Complete Series is uniquely entertaining. Anchored by the comically heroic style of likable B-movie actor Bruce Campbell, Adventures lasted one television season in 1993-94. But it left behind a full 27 episodes (inc! luding two two-part stories) full of classic TV Western production values and a running storyline that resembles The X-Files after awhile.

Campbell plays Brisco County Jr., a bounty hunter and son of a legendary U.S. marshal (R. Lee Ermey) gunned down by the villainous John Bly (Billy Drago) and his band of misfits. The younger Brisco is hired by a consortium of businessmen to protect their interests from the likes of Bly, and while he's dedicated to that cause, Brisco is also determined to avenge his father's murder. Helping him do a little of both is a fussy attorney, Socrates Poole (Christian Clemenson); a rival bounty hunter, Lord Bowler (Julius Carry); a wacky inventor, Professor Wickwire (John Astin); and a sultry saloon singer, Dixie (Kelly Rutherford). Rockets, mysterious orbs, and superhuman strength are some of the delightfully out-of-their-element phenomena that find themselves alongside more conventional cowpoke ingredients, including a horse so smar! t he can chew the ropes binding Brisco's hands. For the most p! art, the stories stand alone. But as the season progresses, a lot of things get weirder, albeit in a good way: the truth about Bly and his connection to a golden orb everyone wants, for example, are certainly unexpected. But the show is always dazzling, often satiric ("Oy!" Dixie exclaims when Brisco outlines the steps involved in stopping a runaway wagon they're trapped within), yet heartening in an old-fashioned way. Special features include Campbell's reading of a chapter about the series in his autobiography. --Tom Keogh

Good to Great: Why Some Companies Make the Leap... and Others Don't

• good to great book, business and investing

The Challenge:
Built to Last, the defining management study of the nineties, showed how great companies triumph over time and how long-term sustained performance can be engineered into the DNA of an enterprise from the verybeginning.

But what about the company that is not born with great DNA? How can good companies, mediocre companies, even bad companies achieve enduring greatness?

The Study:
For years, this question preyed on the mind of Jim Collins. Are there companies that defy gravity and convert long-term mediocrity or worse into long-term superiority? And if so, what are the universal distinguishing characteristics that cause a company to go from good to great?

The Standards:
Using tough benchmarks, Collins and his research team identified a set of elite companies that made the leap to great r! esults and sustained those results for at least fifteen years. How great? After the leap, the good-to-great companies generated cumulative stock returns that beat the general stock market by an average of seven times in fifteen years, better than twice the results delivered by a composite index of the world's greatest companies, including Coca-Cola, Intel, General Electric, and Merck.

The Comparisons:
The research team contrasted the good-to-great companies with a carefully selected set of comparison companies that failed to make the leap from good to great. What was different? Why did one set of companies become truly great performers while the other set remained only good?

Over five years, the team analyzed the histories of all twenty-eight companies in the study. After sifting through mountains of data and thousands of pages of interviews, Collins and his crew discovered the key determinants of greatness -- why some companies make t! he leap and others don't.

The Findings:
The find! ings of the Good to Great study will surprise many readers and shed light on virtually every area of management strategy and practice. The findings include:

• Level 5 Leaders: The research team was shocked to discover the type of leadership required to achieve greatness.
• The Hedgehog Concept: (Simplicity within the Three Circles): To go from good to great requires transcending the curse of competence.
• A Culture of Discipline: When you combine a culture of discipline with an ethic of entrepreneurship, you get the magical alchemy of great results. Technology Accelerators: Good-to-great companies think differently about the role of technology.
• The Flywheel and the Doom Loop: Those who launch radical change programs and wrenching restructurings will almost certainly fail to make the leap.

“Some of the key concepts discerned in the study,” comments Jim Collins, "fly in the face of our modern business culture an! d will, quite frankly, upset some people.”

Perhaps, but who can afford to ignore these findings?

Five years ago, Jim Collins asked the question, "Can a good company become a great company and if so, how?" In Good to Great Collins, the author of Built to Last, concludes that it is possible, but finds there are no silver bullets. Collins and his team of researchers began their quest by sorting through a list of 1,435 companies, looking for those that made substantial improvements in their performance over time. They finally settled on 11--including Fannie Mae, Gillette, Walgreens, and Wells Fargo--and discovered common traits that challenged many of the conventional notions of corporate success. Making the transition from good to great doesn't require a high-profile CEO, the latest technology, innovative change management, or even a fine-tuned business strategy. At the heart of those rare and truly great companies was a corporate cultur! e that rigorously found and promoted disciplined people to th! ink and act in a disciplined manner. Peppered with dozens of stories and examples from the great and not so great, the book offers a well-reasoned road map to excellence that any organization would do well to consider. Like Built to Last, Good to Great is one of those books that managers and CEOs will be reading and rereading for years to come. --Harry C. Edwards

Freakonomics: A Rogue Economist Explores the Hidden Side of Everything (P.S.)

• ISBN13: 9780060731335
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Which is more dangerous, a gun or a swimming pool?

What do schoolteachers and sumo wrestlers have in common?

How much do parents really matter?

These may not sound like typical questions for an economist to ask. But Steven D. Levitt is not a typical economist. He studies the riddles of everyday lifeâ€"from cheating and crime to parenting and sportsâ€"and reaches conclusions that turn conventional wisdom on its head.

Freakonomics is a groundbreaking collaboration between Levitt and Stephen J. Dubner, an award-winning author and journalist. They set out to explore the inner workings of a crack gang, the truth about real estate agents, the se! crets of the Ku Klux Klan, and much more.

Through forceful storytelling and wry insight, they show that economics is, at root, the study of incentivesâ€"how people get what they want or need, especially when other people want or need the same thing.

Economics is not widely considered to be one of the sexier sciences. The annual Nobel Prize winner in that field never receives as much publicity as his or her compatriots in peace, literature, or physics. But if such slights are based on the notion that economics is dull, or that economists are concerned only with finance itself, Steven D. Levitt will change some minds. In Freakonomics (written with Stephen J. Dubner), Levitt argues that many apparent mysteries of everyday life don't need to be so mysterious: they could be illuminated and made even more fascinating by asking the right questions and drawing connections. For example, Levitt traces the drop in violent crime rates to a drop in violent crimi! nals and, digging further, to the Roe v. Wade decision that pr! eempted the existence of some people who would be born to poverty and hardship. Elsewhere, by analyzing data gathered from inner-city Chicago drug-dealing gangs, Levitt outlines a corporate structure much like McDonald's, where the top bosses make great money while scores of underlings make something below minimum wage. And in a section that may alarm or relieve worried parents, Levitt argues that parenting methods don't really matter much and that a backyard swimming pool is much more dangerous than a gun. These enlightening chapters are separated by effusive passages from Dubner's 2003 profile of Levitt in The New York Times Magazine, which led to the book being written. In a book filled with bold logic, such back-patting veers Freakonomics, however briefly, away from what Levitt actually has to say. Although maybe there's a good economic reason for that too, and we're just not getting it yet. --John Moe

Eulogy

• DVD Details: Actors: Ray Romano, Jesse Bradford, Hank Azaria, Rip Torn, Zooey Deschanel
• Directors: Michael Clancy
• Format: Closed-captioned, Color, NTSC. Region: Region 1 (U.S. and Canada only)
• Aspect Ratio: 1.85:1; Number of discs: 1; Studio: Lions Gate
• DVD Release Date: February 8, 2005; Run Time: 91 minutes

One dead patriarch, one deliciously dysfunctional family, and one wickedly funny irreverent comedy! When three generations of a deliciously dysfunctional family gather to bury the family patriarch, the beloved granddaughter of the deceased is given the task of delivering the eulogy. In the days leading up to the funeral, family secrets are revealed, old grudges resurface and the household erupts with renewed vigor. Eulogy is ultimately a heartwarming portrait of a houseful of misfits celebrating the strangest and most enduring bond of all.A spirited ensemb! le cast keeps things cooking in Eulogy, a black comedy about a gathering of the dysfunctional Collins family following the death of its prickly patriarch (Rip Torn). Zooey Deschanel plays granddaughter Kate, struggling to fulfill the old man's last wish that she write his eulogy. Meanwhile, her dad (Hank Azaria), a has-been actor, smokes pot in the dark and referees battles between his seamy brother Skip (Ray Romano), lesbian sister Lucy (Kelly Preston) and her lover Judy (Famke Janssen), caustic sibling Alice (Debra Winger), and suicidal mother Charlotte (Piper Laurie). Confused about her loyalties, poor Kate alternately runs to and from best friend Ryan (Jesse Bradford), who wants to become her lover, while Alice--super-critical of Lucy's sexuality--fails to keep secret her own fling with a nurse (Glenne Headly). Eulogy never quite reaches full boil, but there are many funny moments, and Deschanel, Romano, and Preston are particularly watchable. --Tom Keo! gh