Divine Horsemen: The Living Gods of Haiti

• ISBN13: 9780914232636
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

They are real. They are the harbingers of the Apocalypse. And only one woman stands between them and us. THE FOUR HORSEMEN is a race-against-the-clock thriller starring Andie Sullivan. As the world's only "culturalist," she is employed by corporations and wealthy individuals to break through the barriers with any culture around the globe. Now, she faces the most challenging and dangerous assignment of her career. Hired by a ruthless businessman to infiltrate the mysterious tribe who serve as the protectors of the Four Horsemen's ancient secret, Andie is plunged into a mysterious world where every answer only opens the door to more questions. With a shadowy government force and a brutal terrorist also v! ying for the Horsemen's unfathomable power, Andie must collect them all and unlock their mysteries before time runs out.A boy's account of growing up in the South during the depression era. Both a rare first novel and a new American classic, Sams novel has been compared to Tom Sawyer and To Kill a Mockingbird.Includes photographs and drawings. Foreword by Joseph Campbell This is the classic, intimate study, movingly written with the special insight of direct encounter, which was first published in 1953 by the fledgling Thames & Hudson firm in a series edited by Joseph Campbell. Maya Deren's Divine Horsemen is recognized throughout the world as a primary source book on the culture and spirituality of Haitian Voudoun. The work includes all the original photographs and illustrations, glossary, appendices and index. It includes the original Campbell foreword along with the foreword Campbell added to a later edition.

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Broken Bridges (Includes VIP Access Bonus Dvd) (Widescreen)

• Exclusive includes VIP Access Bonus DVD

In this bittersweet story about family, love and redemption, the death of a loved one brings fading country music star Bo Price (Toby Keith) back to his hometown where he is reunited with his childhood sweetheart (Kelly Preston) and meets his 16-year-old daughter for the first time. Can Bo mend the bridges that were broken when he up and left his home and loved ones for fame and fortune? Broken Bridges, starring country superstar Toby Keith, is the Country Music Channel's debut entry into the world of feature films. Though it plays more like a televised movie of the week--complete with an opaque plot, much tears, and a happy ending--Broken Bridges is a guilty pleasure, thanks in large part to the surprising likeability (though not believability) of Keith. The tall singer plays Bo Price, a struggling musician who heads back to his small ho! metown for his younger brother's funeral. There, he runs into his high-school sweetheart Angela Dalton (Kelly Preston) and her teenage daughter Dixie (Lindsey Haun, daughter of Air Supply guitarist Jimmy Haun). It comes as no surprise to the viewer that Dixie is Bo's child--a daughter he never knew he had. Though she doesn't share her father's gruff personality, she did inherit his musical aptitude and stage presence. While Burt Reynolds chews up the scenery as Angela's father, Tess Harper--playing his wife--doesn't get much to do other than look worried. Look for BeBe Winans and Willie Nelson to make guest appearances as themselves. As for Bo and Angela? She makes a feeble attempt to resist her ex's charms by laying down the law. "I came out here to lay down the ground rules," she tells him. "Don't speak to my parents. Don't speak to Angela. And don't speak to me." Rules, of course, are meant to be broken, especially in feel-good movies such as this. --Jae-Ha KimGenre: Comedy
Rating: PG13
Release Dat! e: 1 1-NOV-2008
Media Type: DVDExclusive includes "Broken Bridges" and VIP Access Bonus DVD. "Broken Bridges" - In this bittersweet story about family, love and redemption, the death of a loved one brings fading country music star Bo Price (Toby Keith) back to his hometown where he is reunited with his childhood sweetheart (Kelly Preston) and meets his 16-year-old daughter for the first time. Can Bo mend the bridges that were broken when he up and left his home and loved ones for fame and fortune? Exclusive "Broken Bridges Red Carpet VIP Access" Bonus DVD.

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He's Just Not That Into You

• Remember that really cute guy who said he'd call.and didn't? Maybe He's Just Not That Into You. An all-star cast - Ben Affleck, Jennifer Aniston, Drew Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson and Justin Long - looks for love and finds laughs in this savvy, sexy, right-now romcom. Based on the runaway (like some guys you know) bestseller by

When we first meet rising young artist Angelique (Tautou), she is in the glorious throes of true love, and the whole world has seemingly fallen under her spell. Her handsome lover Loic is madly in love with her, her paintings are winning wide acclaim, and a glorious future seems all but assured. But Angelique's blissful world may not be as enchanting as it first seems, and in a quick startling moment, her life - and our understanding of it -seems to unravel in front of our eyes. Starring Audrey Taut! ou (Amelie), Samuel Le Bihan (Three Colors: Red).That adorable Audrey Tautou from Amélie plays the central role in this deceptive story of a rather unusual romance. It would spoil the film's clever design to reveal what happens halfway through He Loves Me, He Loves Me Not, so let's just say that Tautou plays a winsome girl in the sunny town of Bordeaux, whose relationship with a married doctor has more layers than first it seems. Samuel LeBihan, from Brotherhood of the Wolf, plays the doctor, but it's the casting of cutie-pie Tautou that sets up the movie's gradually sinister undertow. Director Laetitia Colombani's inventive structure plays a satisfyingly tricky game with the audience, and may have some viewers going back to the beginning to make sure they saw what they thought they saw. Just don't go in expecting Amélie part deux, and you should find this an ingenious little number. --Robert HortonTrish Ryan was the quintessential succe! ssful thirtysomething woman -- she had a career as an attorney! , a nice car, and a succession of men clamoring for her affection. But despite all her accomplishments, the things by which she defined her life continually left her disappointed, especially when it came to dating.

Like the heroines of chick-lit novels and Sex and the City, she couldn't escape her bad luck with men: men who cheated, who left her, who made her a lesser version of herself. After years of trying everything out there to make love work -- new age philosophy, feminist empowerment, myriads of self-help programs -- she finally, hesitantly, decided to give Jesus a try.

HE LOVES ME, HE LOVES ME NOT is Ryan's story of how her search for the right guy turned into the search for the right God, and (spoiler alert!) how she ended up with the happily-ever-after ending.That adorable Audrey Tautou from Amélie plays the central role in this deceptive story of a rather unusual romance. It would spoil the film's clever design to reveal what happens halfway! through He Loves Me, He Loves Me Not, so let's just say that Tautou plays a winsome girl in the sunny town of Bordeaux, whose relationship with a married doctor has more layers than first it seems. Samuel LeBihan, from Brotherhood of the Wolf, plays the doctor, but it's the casting of cutie-pie Tautou that sets up the movie's gradually sinister undertow. Director Laetitia Colombani's inventive structure plays a satisfyingly tricky game with the audience, and may have some viewers going back to the beginning to make sure they saw what they thought they saw. Just don't go in expecting Amélie part deux, and you should find this an ingenious little number. --Robert HortonRiley loves Henry. Henry loves Riley, but he's dating Callie.

Riley Davis is mixed up in an emotional love triangle that she wants out of.

But she can't help the way she feels about Henry Garner. She's obsessed. And she's convinced that her on the sly relation! ship with Henry is going to end badly.

And Henry ha! s a secr et. A secret that could make or break one relationship. But which one will it be? His relationship with Callie? Or his romantic entanglement with Riley?Riley loves Henry. Henry loves Riley, but he's dating Callie.

Riley Davis is mixed up in an emotional love triangle that she wants out of.

But she can't help the way she feels about Henry Garner. She's obsessed. And she's convinced that her on the sly relationship with Henry is going to end badly.

And Henry has a secret. A secret that could make or break one relationship. But which one will it be? His relationship with Callie? Or his romantic entanglement with Riley?Remember that really cute guy who said he'd call....and didn't? Maybe He's Just Not That Into You. An all-star cast - Ben Affleck, Jennifer Aniston, Drew Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson and Justin Long - looks for love and finds laughs in this savvy, sexy, right-now romcom. Bas! ed on the runaway (like some guys you know) bestseller by Sex and the City series writers Greg Behrendt and Liz Tuccillo, He's Just Not That Into You sparkles with zingy aha moments any survivor of the dating wars will recognize. See it with someone you'd like to love.Based on the bestseller by two Sex and the City scribes, He's Just Not That Into You confirms that the HBO series was more than just a television show--it was a cultural institution that spawned tours, catchphrases, fashion trends, and more. Ironically, the resulting film is both smarter and funnier than the big-screen version of Carrie and the gang. Of the nine central characters, the sweet, if clueless Gigi (Big Love's Ginnifer Goodwin) makes the most vivid impression. The Maryland career girl tends to fall for friendly guys, like Conor (Entourage's Kevin Connolly), who are "just not that into" her. At a local watering hole, she meets bar manager Alex (Justin Long, Goodwin! 's Ed co-star), who sets her straight about the difference bet! ween wha t men say and what they mean, adding that there are exceptions to every rule. Her seemingly settled co-workers, Beth (Jennifer Aniston) and Janine (Jennifer Connelly), have relationship issues of their own: Beth's boyfriend of seven years, Neil (Ben Affleck), doesn't believe in marriage, and Janine's husband, Ben (Bradley Cooper), has a wandering eye... for singer/yoga instructor Anna (Scarlett Johansson). Alt-weekly ad saleswoman Mary (executive producer Drew Barrymore) provides the link between this loose-knit community. An avid Internet dater and full-time technophile, she bemoans the fact that "people don't meet each other organically anymore." At 132 minutes, Ken Kwapis's movie could use a few trims, but he brings these complicated romantic entanglements to a convincing conclusion and the confessions from random passers-by add to the laughs. --Kathleen C. Fennessy

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Bicentennial Man

• Bicentennial Man follows the life and times of Andrew (Robin Williams), a robot programmed to perform menial tasks, but who displays uncharacteristically human emotions, curiosity and creativity. Andrew soon discovers what it truly means to be a human being with the help of Little Miss (Hallie Kate Eisenberg) and his understanding owner (Sam Neill). Andrew is no ordinary robot! System Requireme

From the acclaimed director of MRS. DOUBTFIRE, Academy Award(R)-winner Robin Williams (1997, Best Actor, GOOD WILL HUNTING) stars in a delightfully heartwarming comedy about one extraordinary android who just wants to be an ordinary guy! It doesn't take long for the Martin family to realize Andrew (Williams), who was purchased as a mere "household appliance," is no run-of-the-mill robot! Funny, incredibly lifelike, and possessing an astounding level of creativity, this special machine soon takes on a l! ife of his own -- and eventually begins a centuries-long quest to achieve true humanity! A crowd-pleasing comedy hit -- everyone is sure to love this touchingly entertaining movie treat!Bicentennial Man was stung at the 1999 box office, due no doubt in part to poor timing during a backlash against Robin Williams and his treacly performances in two other, then-recent releases, Jakob the Liar and Patch Adams. But this near-approximation of a science fiction epic, based on works by Isaac Asimov and directed, with uncharacteristic seriousness of purpose, by Chris Columbus (Mrs. Doubtfire), is much better than one would have known from the knee-jerk negativity and box-office indifference.

Williams plays Andrew, a robot programmed for domestic chores and sold to an upper-middle-class family, the Martins, in the year 2005. The family patriarch (Sam Neill) recognizes and encourages Andrew's uncommon characteristics, particularly his artis! tic streak, sensitivity to beauty, humor, and independence of! spirit. In so doing, he sets Williams's tin man on a two-century journey to become more human than most human beings.

As adapted by screenwriter Nicholas Kazan, the movie's scale is novelistic, though Columbus isn't the man to embrace with Spielbergian confidence its sweeping possibilities. Instead, the Home Alone director shakes off his familiar tendencies to pander and matures, finally, as a captivating storyteller. But what really makes this film matter is its undercurrent of deep yearning, the passion of Andrew as a convert to the human race and his willingness to sacrifice all to give and take love. Williams rises to an atypical challenge here as a futuristic Everyman, relying, perhaps for the first time, on his considerable iconic value to make the point that becoming human means becoming more like Robin Williams. Nothing wrong with that. --Tom Keogh

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Chicago (Full Screen Edition)

• Full Screen

Formed in its namesake city in 1967, Chicago is the first American band ever to chart albums in Billboardr's Pop Top 40 in five consecutive decades. In 2002, Rhino entered into a long-term partnership with this extraordinary group to restore their extensive, genre-defying catalogue as well as develop new projects (such as 2006's XXX, their first new studio album in a decade). Now Rhino adds to Chicago's legacy and salutes their 40th anniversary with a newly compiled 2-CD collection that spans their entire recording history, from the stellar 1969 debut LP Chicago Transit Authority to Chicago XXX. With a career encompassing five consecutive #1 albums, 13 platinum albums, 21 Top 10 singles, and many other laurels, Chicago is among the most successfully charting American groups of all time.Winner of six Academy Awards(R) (2003) including Best Picture, and starring Academy Award nomine! e (Best Actress, CHICAGO) and Golden Globe winner (Best Actress in a Musical or Comedy, CHICAGO) Renée Zellweger (BRIDGET JONES'S DIARY), Academy Award winner (Best Supporting Actress, CHICAGO) Catherine Zeta-Jones (TRAFFIC), Academy Award nominee (Best Supporting Actress, CHICAGO) Queen Latifah (BRINGING DOWN THE HOUSE), Golden Globe winner (Best Actor in a Musical or Comedy, CHICAGO) Richard Gere (UNFAITHFUL), and Academy Award nominee (Best Supporting Actor, CHICAGO) John C. Reilly (GANGS OF NEW YORK) -- CHICAGO is a dazzling spectacle cheered by audiences and critics alike! At a time when crimes of passion result in celebrity headlines, nightclub sensation Velma Kelly (Zeta-Jones) and spotlight-seeking Roxie Hart (Zellweger) both find themselves sharing space on Chicago's famed Murderess Row! They also share Billy Flynn (Gere), the town's slickest lawyer with a talent for turning notorious defendants into local legends. But in Chicago, there's only room for one legend!! Also starring Lucy Liu (CHARLIE'S ANGELS).Bob Fosse's sexy cy! nicism s till shines in Chicago, a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but Chicago reeks of '70s disenchantment--this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. --Robert HortonOut-of-print in the US. Subtitled - Only The ! Beginning. Double disc with 39 hit singles spanning Chicago's complete 35-year history. Including the #1 singles 'If You Leave Me Now,' 'Hard To Say I'm Sorry' and 'Look Away'. Booklet features detailed liner notes by Bill DeYoung. Rhino RecordsFrom the perspective of 15 subsequent platinum albums and 20 top-10 hits, it's hard to imagine that Chicago began their career as a bona fide prog-fusion act, an early FM radio favorite whose jazz-tinged, album-length suites found them a hip cult following even as they confounded label execs. Ironically, when the pioneering horn band (a contemporary of Blood, Sweat & Tears and inspiration for one-hit wonders like Lighthouse, Ides of March, and Ten Wheel Drive) relented and allowed their music to be edited down to single length, their success was explosive. Most of the "single edits" on disc 1 of this 39-track anthology provide ample evidence of that de facto formula: a catchy riff ("25 or 6 to 4," "Saturday in the Park," "Color My Wo! rld") develops into a hook-filled, pop-savvy production rife w! ith the band's trademark horn perfection. One could argue that that sensibility--and a midcareer tilt toward producer David Foster, songwriter Diane Warren, and the MOR ballads that became some of their biggest successes--degenerated into formula. Indeed, there's much on the second disc to support that notion. This set spans it all, showcasing newly refocused edits of some their biggest early hits and lesser-known tracks like their lively '95 cross-cultural collaboration with the Gipsy Kings on a cover of Louis Prima's swing classic "Sing, Sing, Sing." --Jerry McCulleyChicago XXXIII, "O Christmas Three" was produced by Phil Ramone. 14 bona fide smash hit holiday favorites, all "Chicago-ized" in classic form. Guest artists include Dolly Parton, Bebe Winans, and more! This OFFICIAL listing was made directly by the band. It is the ONLY legitimate source for the album on Amazon.Winner of six Academy Awards(R) (2003) including Best Picture, and starring Academy Award nominee! (Best Actress, CHICAGO) and Golden Globe winner (Best Actress in a Musical or Comedy, CHICAGO) Renée Zellweger (BRIDGET JONES'S DIARY), Academy Award winner (Best Supporting Actress, CHICAGO) Catherine Zeta-Jones (TRAFFIC), Academy Award nominee (Best Supporting Actress, CHICAGO) Queen Latifah (BRINGING DOWN THE HOUSE), Golden Globe winner (Best Actor in a Musical or Comedy, CHICAGO) Richard Gere (UNFAITHFUL), and Academy Award nominee (Best Supporting Actor, CHICAGO) John C. Reilly (GANGS OF NEW YORK) -- CHICAGO is a dazzling spectacle cheered by audiences and critics alike! At a time when crimes of passion result in celebrity headlines, nightclub sensation Velma Kelly (Zeta-Jones) and spotlight-seeking Roxie Hart (Zellweger) both find themselves sharing space on Chicago's famed Murderess Row! They also share Billy Flynn (Gere), the town's slickest lawyer with a talent for turning notorious defendants into local legends. But in Chicago, there's only room for one legend! ! Also starring Lucy Liu (CHARLIE'S ANGELS).Bob Fosse's sexy cyn! icism st ill shines in Chicago, a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but Chicago reeks of '70s disenchantment--this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. --Robert Horton

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Red Devil 3040 Scraper, Double Edge

• Red Devil
• 3040
• Utility Knives

An American couple on their honeymoon walks into a bar in Guadalajara, Mexico. Unbeknownst to them they capture the attention of Belu, a creature that sits without form in the shadows of the bar. Belu, sensing they have what he needs to help him take over the world, slips into their minds and transforms himself into the object of both of their desires. The couple, unable to resist, takes Belu back to their room for a rapturous Devil's Threesome where Belu extract from them something more valuable to him then their soul.

4,500 Words


*Please note that this story contains very explicit descriptions of erotic and sexual situations written for extreme genital arousal which will lead to self-pleasure. Mature readers only.


Excerpt:
Belu stared deep into her eyes inserting his tongue into her mouth. With! their two muscles again in a dance, Lilly grabbed at Belu's form fitting black shirt and tore it down the center. Pulling the shirt onto his shoulders she tore one arm through then the other. And with Belu's perfectly sculpted torso free, she lunged for his pants.

Loosening the button, Belu's pants popped open and out slither the tip of his hefty thick c***. Lilly, wanting desperately to have it inside her, threw her hips up enticing it to her cl*t. Unable to get past his stretched denim, her hips collided with his tented jeans causing her bones to rattle with frustration. Belu like this.
An American couple on their honeymoon walks into a bar in Guadalajara, Mexico. Unbeknownst to them they capture the attention of Belu, a creature that sits without form in the shadows of the bar. Belu, sensing they have what he needs to help him take over the world, slips into their minds and transforms himself into the object of both of their desires. The couple, unable t! o resist, takes Belu back to their room for a rapturous Devil'! s Threes ome where Belu extract from them something more valuable to him then their soul.

4,500 Words


*Please note that this story contains very explicit descriptions of erotic and sexual situations written for extreme genital arousal which will lead to self-pleasure. Mature readers only.


Excerpt:
Belu stared deep into her eyes inserting his tongue into her mouth. With their two muscles again in a dance, Lilly grabbed at Belu's form fitting black shirt and tore it down the center. Pulling the shirt onto his shoulders she tore one arm through then the other. And with Belu's perfectly sculpted torso free, she lunged for his pants.

Loosening the button, Belu's pants popped open and out slither the tip of his hefty thick c***. Lilly, wanting desperately to have it inside her, threw her hips up enticing it to her cl*t. Unable to get past his stretched denim, her hips collided with his tented jeans causing her bones to rattle with frustration. Belu ! like this.
In 1987, Latif Yahia was taken to Saddam's headquarters to meet Uday, Saddam's eldest son, and told that a great honour has been bestowed upon him: that because of the great likeness between them, he had been chosen to be Uday's double. For many Iraquis, it would have been the highlight of their lives, but for Latif, a peace-loving man who did not agree with Saddam's brutal regime, it was not. He refused. Following a week of torture and realising he would be killed if he continued to refuse, Latif was forced to accept the role. After a gruesome training programme during which he was made to watch over thirty films of torture, hours of tapes of Uday, and undertake a final remodelling of his appearance, Latif was deemed ready. But it was only after the final test, a meeting with Saddam himself, that Latif made his first public appearance. And so began his life as Uday's double - a life on the perimeter of the inner circle of Saddam's eldest son, a witness to the! horror of his insane life of debauchery, excess and brutality! , and an experience for which he almost paid with his life on more than one occasion.Based on a gripping, unbelievable true story of money, power and opulent decadence, Lionsgate’s THE DEVIL’S DOUBLE takes a white- knuckle ride deep into the lawless playground of excess and violence known as Baghdad, 1987. Summoned from the frontline to Saddam Hussein's palace, Iraqi army lieutenant Latif Yahia (Dominic Cooper) is thrust into the highest echelons of the "royal family" when he’s ordered to become the ‘fiday’ â€" or body double â€" to Saddam's son, the notorious "Black Prince" Uday Hussein (also Dominic Cooper), a reckless, sadistic party-boy with a rabid hunger for sex and brutality. With his and his family’s lives at stake, Latif must surrender his former self forever as he learns to walk, talk and act like Uday. But nothing could have prepared him for the horror of the Black Prince’s psychotic, drug-addled life of fast cars, easy women and impulsive violence. With one! wrong move costing him his life, Latif forges an intimate bond with Sarrab (Ludivine Sagnier), Uday's seductive mistress who’s haunted by her own secrets. But as war looms with Kuwait and Uday’s depraved gangster regime threatens to destroy them all, Latif realizes that escape from the devil’s den will only come at the highest possible cost.After scene-stealing turns in The History Boys and An Education, charismatic Brit Dominic Cooper becomes a leading man--twice. Like Nicolas Cage in Adaptation, he plays two men with similar features and opposing personalities. In 1987, as Iraq is locked in a power struggle with Kuwait, Uday Hussein decides he needs a fiday, or body double, so he selects former classmate Latif Yahia, and doesn't give the army lieutenant a choice. Upright Latif must put his scruples aside to take on the part of an insecure, misogynistic sadist. Though dazzled by the Black Prince's wealth, he finds his behavior horrifying,! and discovers he isn't alone. Uday's security officer, Munem ! (Raad Ra wi), his mistress, Sarrab (Swimming Pool's Ludivine Sagnier), and even his father, Saddam (Philip Quast, surprisingly sympathetic), all think he's off his rocker. When Uday's encounters with a couple of women come to a grim end, Latif runs away with Sarrab, who's just as anxious to make a new life for herself. New Zealand director Lee Tamahori, who came to fame with Once Were Warriors, consistently goes for the big, the bold, and the operatic, leading to an entertaining, if lurid Scarface-like spectacle. The more his camera ogles Uday's snazzy suits and sexy conquests, the more he seems equally bedazzled by this real-life Devil. Fortunately, Cooper rises to the occasion with two impressively divergent performances; he keeps you rapt no matter how ridiculous the proceedings get. --Kathleen C. FennessyBased on a gripping, unbelievable true story of money, power and opulent decadence, Lionsgate’s THE DEVIL’S DOUBLE takes a white- knuckle ride dee! p into the lawless playground of excess and violence known as Baghdad, 1987. Summoned from the frontline to Saddam Hussein's palace, Iraqi army lieutenant Latif Yahia (Dominic Cooper) is thrust into the highest echelons of the "royal family" when he’s ordered to become the ‘fiday’ â€" or body double â€" to Saddam's son, the notorious "Black Prince" Uday Hussein (also Dominic Cooper), a reckless, sadistic party-boy with a rabid hunger for sex and brutality. With his and his family’s lives at stake, Latif must surrender his former self forever as he learns to walk, talk and act like Uday. But nothing could have prepared him for the horror of the Black Prince’s psychotic, drug-addled life of fast cars, easy women and impulsive violence. With one wrong move costing him his life, Latif forges an intimate bond with Sarrab (Ludivine Sagnier), Uday's seductive mistress who’s haunted by her own secrets. But as war looms with Kuwait and Uday’s depraved gangster regime t! hreatens to destroy them all, Latif realizes that escape from ! the devi l’s den will only come at the highest possible cost.After scene-stealing turns in The History Boys and An Education, charismatic Brit Dominic Cooper becomes a leading man--twice. Like Nicolas Cage in Adaptation, he plays two men with similar features and opposing personalities. In 1987, as Iraq is locked in a power struggle with Kuwait, Uday Hussein decides he needs a fiday, or body double, so he selects former classmate Latif Yahia, and doesn't give the army lieutenant a choice. Upright Latif must put his scruples aside to take on the part of an insecure, misogynistic sadist. Though dazzled by the Black Prince's wealth, he finds his behavior horrifying, and discovers he isn't alone. Uday's security officer, Munem (Raad Rawi), his mistress, Sarrab (Swimming Pool's Ludivine Sagnier), and even his father, Saddam (Philip Quast, surprisingly sympathetic), all think he's off his rocker. When Uday's encounters with a couple of women come to a g! rim end, Latif runs away with Sarrab, who's just as anxious to make a new life for herself. New Zealand director Lee Tamahori, who came to fame with Once Were Warriors, consistently goes for the big, the bold, and the operatic, leading to an entertaining, if lurid Scarface-like spectacle. The more his camera ogles Uday's snazzy suits and sexy conquests, the more he seems equally bedazzled by this real-life Devil. Fortunately, Cooper rises to the occasion with two impressively divergent performances; he keeps you rapt no matter how ridiculous the proceedings get. --Kathleen C. FennessyRed Devil 3040 Scraper, Double EdgeUse to remove paint or varnish from furniture, molding, cornices, wooden sashes, etc. Heavy-duty plastic handle.Red Devil 3040 Scraper, Double Edge Features:; 1 1/2" (3.8 cm) Blade; Carded; Made from hardwood for long lasting life; Hardened high-carbon steel blades; Replacement blade 3062 (3673-5355); 7" x 1-1/2"

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The Man with No Name Trilogy (A Fistful of Dollars / For a Few Dollars More / The Good, The Bad, and the Ugly) [Blu-ray]

• Condition: New
• Format: Blu-ray
• AC-3; Box set; Color; Dolby; DTS Surround Sound; Dubbed; Full Screen; Restored; Subtitled; Widescree

Sergio Leone “spaghetti westerns” did not simply add a new chapter to the genre…they reinvented it. From his shockingly violent and stylized breakthrough, A Fistful of Dollars, to the film Quentin Tarantino calls “the best-directed movie of all time,” The Good, the Bad and the Ugly, Leone’s vision did for westerns what talkies did for all movies back in the 1920s: it elevated them to an entirely new art form. Fully restored, presented in high definition with their best-ever audio, and including audio commentaries, featurettes and more, these films are much more than the definitive Leone collection...they are the most ambitious and influential westerns ever made.

A Fistfull Of Dollars
Clint Eastwood’s legendary “M! an With No Name” makes his powerful debut in this thrilling, action-packed classic in which he manipulates two rival bands of smugglers and sets in motion a plan to destroy both in a series of brilliantly orchestrated setups, showdowns and deadly confrontations.

For A Few Dollars More
Oscar® Winner Clint Eastwood** continues his trademark role in this second installment of the trilogy, this time squaring off with Indio, the territory’s most treacherous bandit. But his ruthless rival, Colonel Mortimer (Lee Van Cleef, High Noon), is determined to bring Indio in first...dead or alive!

The Good, The Bad And The Ugly
The invincible “Man With No Name” (Eastwood) aligns himself with two gunslingers (Lee Van Cleef and Eli Wallach) to pursue a fortune in stolen gold. But teamwork doesn’t come naturally to such strong-willed outlaws, and they soon discover that their greatest challenge may be to stay focused â€" and stay alive â€" in a! country ravaged by war.Review for A Fistful of Do! llars:
A Fistful of Dollars launched the spaghetti Western and catapulted Clint Eastwood to stardom. Based on Akira Kurosawa's 1961 samurai picture Yojimbo, it scored a resounding success (in Italy in 1964 and the U.S. in 1967), as did its sequels, For a Few Dollars More and The Good, the Bad and the Ugly. The advertising campaign promoted Eastwood's character--laconic, amoral, dangerous--as the Man with No Name (though in the film he's clearly referred to as Joe), and audiences loved the movie's refreshing new take on the Western genre. Gone are the pieties about making the streets safe for women and children. Instead it's every man for himself. Striking, too, was a new emphasis on violence, with stylized, almost balletic gunfights and baroque touches such as Eastwood's armored breastplate. The Dollars films had a marked influence on the Hollywood Western--for example, Sam Peckinpah's The Wild Bunch--but their most enduring legacy is Clint Eastwood himse! lf. --Edward Buscombe

Review for The Good, the Bad, and the Ugly:
If you think of A Fistful of Dollars and For a Few Dollars More as the tasty appetizers in Sergio Leone's celebrated "Dollars" trilogy of Italian "Spaghetti" Westerns, then The Good, the Bad, and the Ugly is a lavish full-course feast. Readily identified by the popular themes of its innovative score by Ennio Morricone (one of the bestselling soundtracks of all time), this cinematic milestone eclipsed its influential predecessors with a $1.2 million budget (considered extravagant in the mid-1960s), greater production values to accommodate Leone's epic vision of greed and betrayal, and a three-hour running time for its wide-ranging plot about the titular trio of mercenaries ("Good" Blondie played by rising star Clint Eastwood, "Bad" Angel Eyes played by Lee Van Cleef, and "Ugly" Tuco played by Eli Wallach) in a ruthless Civil War-era! quest for $200,000 worth of buried Confederate gold. Virtuall! y all of Leone's stylistic attributes can be found here in full fruition, from the constant inclusion of Roman Catholic iconography to a climactic circular shoot-out, along with Leone's trademark use of surreal landscapes, brilliant widescreen compositions and extreme close-ups of actors so intimate that they burn into the viewer's memory. And while some Leone fans may favor the more scaled-down action of For a Few Dollars More or the masterful grandiosity of Once Upon a Time in the West, it was The Good, the Bad, and the Ugly that cemented Leone's reputation as a world-class director with a singular vision. --Jeff Shannon

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Grindhouse (Two-Disc Collector's Edition) [Blu-ray]

• GRINDHOUSE SPECIAL BLU-RAY ED. (BLU-RAY DISC)

Together for the first time the Rodriguez/Tarantino Double Feature Grindhouse is back and better than ever! These rip-roaring and adrenaline-pumping films are now featured in the original theatrical exhibition format. Loaded with over 2 hours of bonus content, including the fan favorite Rodriguez's 10 Minute Cooking School this 2-disc Blu-Ray will deliver a new experience like never before!Loud, fast, and proudly out of control, Grindhouse is a tribute to the low-budget exploitation movies that lurked at drive-ins and inner city theaters in the '60s and early '70s. Writers/directors Quentin Tarantino (Kill Bill) and Robert Rodriguez (Sin City) cooked up this three-hour double feature as a way to pay homage to these films, and the end result manages to evoke the down-and-dirty vibe of the original films fo! r an audience that may be too young to remember them. Tarantino's Death Proof is the mellower of the two, relatively speaking; it's wordier (as to be expected) and rife with pulp/comic book posturing and eminently quotable dialogue. It also features a terrific lead performance by Kurt Russell as a homicidal stunt man whose weapon of choice is a souped-up car. Tarantino's affection for his own dialogue slows down the action at times, but he does provide showy roles for a host of likable actresses, including Rosario Dawson, Mary Elizabeth Winstead, Rose McGowan, Sydney Poitier, and newcomer Zoe Bell, who was Uma Thurman's stunt double in Kill Bill. Detractors may decry the rampant violence and latch onto a sexist undertone in Tarantino's feature, but for those viewers who grew up watching these types of films in either theaters or on VHS, such elements will be probably be more of a virtue than a detrimental factor. Rodriguez's Planet Terror is a rol! licking horror/sci-fi/action piece about a plague outbreak tha! t turns citizens into cannibalistic murderers; it's heavy on the gore and explosions but also features a terrific cast of A players (Freddy Rodriguez, Naveen Andrews, Marley Shelton) and B-movie vets (Michael Biehn, Jeff Fahey, Tom Savini) and the indelible image of Rose McGowan as a stripper whose torn-off leg is replaced by a high-powered machine gun.- Paul Gaita

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