Friday, November 18, 2011

House of D

  • Actors: David Duchovny, Tea Leoni, Robin Williams, Anton Yelchin, Erykah Badu.
  • Format: Closed-captioned, Color, Dolby, DVD, Special Edition, Subtitled, Widescreen, NTSC.
  • Language: English, French. Subtitles: English, Spanish.
  • Region: Region 1 (U.S. and Canada only).
  • Rated PG-13. Run Time: 97 minutes.
In his directorial debut David Duchovny delivers a classic coming-of-age tale. To reconcile with his 13-year-old son and estranged wife artist Tom Warshaw (Duchovny) revisits the life changing events of his own adolescence in New York City in 1973 when his best friends were Pappass (Robin Williams) a mentally challenged janitor and Lady (Erykah Badu) a truth-dispensing detainee in the East Village's legendary Women's House of Detention. Filled with laugh-out-load moments as well as poignancy House Of D is a warmhearted and wise film.System Requirements: Running Tim! e 97 MinFormat: DVD MOVIE Genre: DRAMA Rating: PG-13 UPC: 031398177654 Manufacturer No: 17765House of D is a bittersweet, moving story of an American expatriate's painful decision to come to terms with the childhood he fled in early 1970s New York City. David Duchovny wrote and directed this comedy-drama; he also stars as the adult version of the film's hero, Tom Warshaw, an illustrator who has spent most of his life in Paris and decidesâ€"on the occasion of his son's birthdayâ€"to finally reveal long-withheld facts about his past.

The bulk of the story, told in flashback, portrays 13-year-old Tom (Anton Yelchin) as a quick-witted prince of his neighborhood, a delivery boy who knows every eccentric on his bicycle route and a Catholic school kid fond of playing pranks on his clueless French teacher and soulful principal (Frank Langella). His best friend is the school's mildly retarded, 41-year-old janitor, Pappas (Robin Williams), and his advisor on matters o! f the heart is Lady (Erykah Badu), a prison inmate whom the fa! therless Tom (or Tommy, as he's called in 1973) can neither see nor touch. Tommy's vivacity is an asset at home, where his mother (Tea Leoni), a grieving widow with a mounting addiction to pills, is slipping away from her son's ability to help. Duchovny's screenplay sometimes borders on the precious: A number of scenes are enamored with their own boldness and originality, as if Duchovny has been squirreling away lots of colorfully expressive storytelling details for years, and unloaded them here. But that flaw all but disappears in the glow of House of D's emotional resonance and honesty, not to mention several exceptional performances. Among these is Zelda Williams's work as Tommy's sage-beyond-her-years girlfriend, Melissa, whose name offers a suitable excuse to work a rather lovely Allman Brothers song into the soundtrack. --Tom Keogh

Transcend 8 GB Class SDHC 10 Flash Memory Card TS8GSDHC10E

Finding Amanda

True Religion Women's Billy Straight Leg Jean, Body Rinse, 28

The Heartbreak Kid (Widescreen Edition)

  • Rechargeable model, with FREE keychain!
More and more American children are emotionally hurt early in life and cannot form the relationships necessary to heal themselves. The cost to America as these children become adults is beyond estimation. This book takes a hard-hitting look at our society's key role in creating uncontrollable, unreachable young people and the no-nonsense steps we absolutely must take toward a genuine solution.Caution! High Voltage!

Electrician Sophie North felt as if she'd touched a live wire the first time she laid eyes on Tyler Barnes. That was to be expected, of course.

He had a heartbreaking grin, an incredible body and a thousand watts of cowboy charm. Half the women in Brody, Texas, were out to snag him. But Sophie was just passing through. And she'd sworn never to live her life at the mercy of her own passionate nature.

Nevertheless, every tim! e Tyler came near her, her response was shocking. Which wasn't supposed to be happening.

Lightning was only supposed to strike once!After her brilliant career in a comedy duo with Mike Nichols, Elaine May made tentative progress as a director, making only four films between 1971 and 1987 (her last being the disastrous but underrated Ishtar). Released in 1972, The Heartbreak Kid (from a screenplay by Neil Simon) is widely considered her best work from behind the camera, and it's still one of the most accomplished--but least recognized--comedies of the 1970s. Charles Grodin landed one of his best roles as Lenny, a newlywed husband who meets a gorgeous blonde (Cybill Shepherd) while on his honeymoon, and finds his new bride, Lila (played by May's daughter, Jeannie Berlin), unappealing by comparison. When Lila is forced to rest with a severe case of sunburn, Lenny's free to pursue his new interest, oblivious to the manipulative games that he'll soon be subjecte! d to. May and screenwriter Simon draw plenty of pain, awkwardn! ess, and embarrassment from hilarious situations, giving this comedy a perceptive awareness of human foibles and unchecked desires. It's a newlywed's worst nightmare come true, made enjoyable because we're watching it happen to someone else. Grodin's a prime choice of casting for expressing the movie's lusty anxiety--he's a schmuck, but you can still sympathize with the anguish he's brought on himself. --Jeff ShannonStudio: Paramount Home Video Release Date: 05/06/2008 Run time: 115 minutes Rating: RBen Stiller and the Farrelly brothers bring out the best in each other. In The Heartbreak Kid, Stiller plays Eddie Cantrow, who--persuaded by his father and friends that he's commitment-phobic--marries a gorgeous and seemingly ideal woman named Lila (Malin Akerman, The Brothers Solomon) that he's been dating for several weeks. But after the wedding, things start to go awry... the least of these being that on their honeymoon, Eddie meets a woman who might truly be ! the girl of his dreams (Michelle Monaghan, Kiss Kiss Bang Bang). As in There's Something About Mary, writers/directors Bobby and Peter Farrelly push Stiller away from his increasingly schticky "tense guy" persona and draw out his sweeter, more multilayered earnest side. On his end, Stiller provides a human core to what could just be a festival of raunch and absurdity (the movie features aroused donkeys, deviated septum jokes, and digitally-enhanced body hair, among other items of questionable taste). It only takes a quick comparison with Jim Carrey in Me, Myself & Irene or Jack Black in Shallow Hal to see what a surprisingly delicate balance that is. The Heartbreak Kid may not be quite as wildly sublime as There's Something About Mary, but it comes extremely close, with kudos to Akerman for her unrestrained nuttiness. --Bret Fetzer

Brother CS6000i Sew Advance Sew Affordable 60-Stitch Computerized Free-Arm Sewing Machine

Patriotic Steel Garage Door Magnets Set - Independence Day 4th of July

  • Die cut plastic decorations cover most steel garage doors.
  • Reusable; easy application and removal.
  • UV protected and guaranteed not to fade.
  • Will not interfere with the normal use of your garage door.
  • Set includes letters, shapes, magnets, and instructions.
From the director of the ground-breaking film I, Robot comes this hip, sexy comedy about a garage band with everything it takes to make it to the top?except talent. Waiting for their big break, a group of young rockers and their clueless manager can't keep their heads on straight -- or their hands off each other. Loaded with sex, drugs and rock-n-roll, GARAGE DAYS proves you don?t have to be a rock star to party like one!Alex Proyas, director of sci-fi dramas Dark City and I, Robot, took a detour toward a modified retro-'60s, upbeat rock & roll comedy with 2002's lightly engaging Garage Days. Set in a Sydney, Australia suburb, the film is a quirky variation on the story of a misfit band trying to get a break with successful managers, clubs, recording studios, lovers, etc. Singer-guitarist Freddy (Kick Gurry) desperately maneuvers his group toward stardom, but his bandmates' internal struggles and the capriciousness of a powerful record executive (Marton Csokas) prove major stumbling blocks. So, too, is Freddy's deepening attraction to Kate (Maya Stange), girlfriend of his lead guitarist Joe (Brett Stiller), who in turn may be having a nervous breakdown via a dangerous side romance with a suicidal beauty (Yvette Duncan). Proyas enjoys his patches of darkness in Garage Days, but for the most part he's making his own, devil-may-care A Hard Day's Night. --Tom KeoghFestive die-cut plastic decorations cover most steel garage doors.

Easy application and removal so you can reuse them year after year! UV protected and guaranteed not to ! fade.
Will not interfere with the normal use of your gara! ge door.

Set includes letters, shapes, magnets, and instructions.

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Overworked Manhattan coffee shop waitress Bella isn't looking forward to her 35th birthday. Stuck in a relationship with a married man for far too long, Bella takes a chance on frustrated novelist/taxi driver Bruno. Determined not to scare yet another man off with her dreams of marriage and family, Bella plays it cool and tells Bruno she hates children. A tough break for the womanizer since his ex-wife has just dumped two small children on him ... In her coffee shop world, Bella witnesses she's not ! alone in the bittersweet battle against romance's difficulties. Shy widower Paul struggles through the tender courtship of lively widow Emily. Ornery old Seymour gets a magical shot of youth when he falls for a sexy exotic dancer. Despite love's accompanying twists and turns, everyone holds out for the best. And the persistent Bella discovers fairy tales can come true...even in New York City. Louise Lasser and Robert Modicka put their hearts into the story of a 60-ish couple trying to make a go of it, regardless of his friends' ridicule and her low self-esteem. Their honest acting nearly gives this failed attempt at a Woody Allen-style episode of Friends needed humanity. The problem? Lasser and Modicka are not the lead actors in this film, whose tritely punning title is about the extent of writer-director Amos Kollek's wit. Anna Thomson is the ostensible heroine in this story about the denizens of a New York City diner and their romantic travails. The 35-year-old wai! tress, unlucky in life and love, seems such a candidate for lo! ng-term therapy that her unconventional outlook isn't so much profoundly sympathetic as simply pathetic. Kollek also stretches credulity by allowing a sex-show performer to melt at the badgering appearances of one of her "clients," the creepiest of the whole lot. --Kevin FilipskiFood, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.

Q&A with Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlo! sser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.

How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ ye! ars.  It has taken a lot longer than we expected because we w! ere deni ed access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibl! y influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even though he’s not guilty of anything.  Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking! . And that was my biggest surprise.

So, what d! oes our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies! that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial int! erest involved, these companies would rather make the money an! d be sue d than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contemplating whether or not to label meat and milk from cloned cows.  It seems very basic that consumers should have the right to know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways! of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year.  The typical meatpacking worker has a similar background but earns about twice that amount.  A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speak! ing workers?
Kenner:
The same thing that created! obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives.  And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desper! ate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that ! science is used … and for whose benefit.

Can! a perso n eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast food is very reasonably priced.  Coke is selling for less than water.  So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in ! the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time.  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get! involved and help change the system, what would you suggest t! hey do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it i! s something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food system in a generation.

For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angl! es, talking to authors, advocates, farmers, and CEOs, like co-! producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner t! akes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

Night (Oprah's Book Club)

  • night book paperback
  • oprahs book club
  • military history biography
A gripping drama that follows a young suicide bomber on her mission to wreak havoc in Times Square. It is not known who she represents or what she believes in, but she believes in her mission absolutely.
Night is Elie Wiesel's masterpiece, a candid, horrific, and deeply poignant autobiographical account of his survival as a teenager in the Nazi death camps. This new translation by Marion Wiesel, Elie's wife and frequent translator, presents this seminal memoir in the language and spirit truest to the author's original intent. And in a substantive new preface, Elie reflects on the enduring importance of Night and his lifelong, passionate dedication to ensuring that the world never forgets man's capacity for inhumanity to man.

Night offers much more than a litany of the dai! ly terrors, everyday perversions, and rampant sadism at Auschwitz and Buchenwald; it also eloquently addresses many of the philosophical as well as personal questions implicit in any serious consideration of what the Holocaust was, what it meant, and what its legacy is and will be.
In Nobel laureate Elie Wiesel's memoir Night, a scholarly, pious teenager is wracked with guilt at having survived the horror of the Holocaust and the genocidal campaign that consumed his family. His memories of the nightmare world of the death camps present him with an intolerable question: how can the God he once so fervently believed in have allowed these monstrous events to occur? There are no easy answers in this harrowing book, which probes life's essential riddles with the lucid anguish only great literature achieves. It marks the crucial first step in Wiesel's lifelong project to bear witness for those who died.
web log free