Tracey Takes On... Complete Seasons 3 & 4

• TRACY TAKES ON (DVD MOVIE)

When hair stylist Peaches (Mo'Nique) arrives in Beverly Hills to get reacquainted with her sister, Angela (Kellita Smith of "The Bernie Mac Show"), sparks fly! Angela finds out Peaches owes $50,000 in back taxes and is on the run. So the two sisters join forces to fight off a pesky rival salon owner in a show-stopping competition to win a cash prize for Peaches and bragging rights at the city's annual hair show.Hair Show is a lively and funny ensemble comedy set in the busy, high-pressure milieu of an upscale hair salon. As in Barbershop or Empire Records, a handful of idiosyncratic characters share the shop's load but are individually defined by peculiar obsessions or circumstances. Jun Ni (Keiko Agena), for instance, just wants to learn to cook for the husband who adores her yet who is starving because of her failures in the kitchen. Peaches (! Mo'Nique) is trying to save her bacon from the IRS agents hounding her for $50,000 in back taxes. At the center of the story is Peaches' rivalrous relationship with sister Angela (Kellita Smith), who took a sizable inheritance from her late grandmother (Peaches got no cash from Grandma's will) and built the salon in which brassy Peaches might be the most talented stylist. Crisply directed by Leslie Small and co-produced by Magic Johnson, Hair Show is lightly but genuinely rewarding. --Tom KeoghThe Salon stars Vivica A. Fox (Jenny) as the inheritor of a neighborhood beauty salon. Jenny is being forced to sell her shop to the Department of Water and Power (DWP) due to eminent domain. She has not told the other tenants in the salon and is trying to build a case to save the shop. The DWP is represented by a hot shot attorney (Darrin Dewitt Henson) who takes a liking to her and a romance begins. This is a fresh look on the inside of a salon where anything can happ! en.Hair Show is a lively and funny ensemble comedy set ! in the b usy, high-pressure milieu of an upscale hair salon. As in Barbershop or Empire Records, a handful of idiosyncratic characters share the shop's load but are individually defined by peculiar obsessions or circumstances. Jun Ni (Keiko Agena), for instance, just wants to learn to cook for the husband who adores her yet who is starving because of her failures in the kitchen. Peaches (Mo'Nique) is trying to save her bacon from the IRS agents hounding her for $50,000 in back taxes. At the center of the story is Peaches' rivalrous relationship with sister Angela (Kellita Smith), who took a sizable inheritance from her late grandmother (Peaches got no cash from Grandma's will) and built the salon in which brassy Peaches might be the most talented stylist. Crisply directed by Leslie Small and co-produced by Magic Johnson, Hair Show is lightly but genuinely rewarding. --Tom KeoghBrimming with the energy, passion and music that rocked a nation, Hair is an en! tertaining and powerful tribute to the turbulent spirit of the '60s. Brilliantly recreated by OscarÂ(r)-winning* director Milos Forman and screenwriter Michael Weller (Ragtime), this vibrant screen version of the Broadway phenomenon ranks "among the best film musicals" (The Hollywood Reporter)! Fresh from the farm, Claude Bukowski (John Savage, The Thin Red Line) arrives in New York City for a date with the Army Induction Board, only to walk into a hippie "happening" inCentral Park and fall in love with the beautiful Shelia (Beverly D'Angelo, American History X). Befriended by the hippies' pacifist leader, Berger (Treat Williams, Mulholland Falls), and urged to crash a formal party in order to declare his love for Shelia, Claude begins an adventure that lands him in jail, Central Park Lake and, finally, in the army. But Berger's final effort to save Claude from Vietnam sets in motion a bizarre twist of fate with shocking consequences. *1975: One Flew Over the Cuckoo's N! est; 1984: AmadeusThe Age of Aquarius is brought to life by th! e filmma ker who made Amadeus a household word. Milos Forman directed this version of James Rado, Gerome Ragni, and Galt MacDermot's landmark musical in 1979 between his Oscar-winning films One Flew Over the Cuckoo's Nest and Amadeus. With mixed reviews (Gene Siskel named it that year's best film) and lukewarm box-office grosses, the film all but disappeared from the collective consciousness. Yet the film beautifully delivers on its promise to bring the '60s back to life. Hair re-creates a colorful world of counterculture finding an anvil to pound on: the Vietnam War. Forman and his design team allow the film to wash over you, starting at the free-flowing opening in which masses of hippies, police, and even their horses eagerly groove to the familiar beat of "Aquarius." In the best work of his career, Treat Williams makes his leading- man debut as Berger, the leader of the Central Park troop who takes draftee Claude (John Savage) under his wing on his trip! through New York City and the apex of what the '60s was. The new recording of the music is quite fine, with Chicago band member Don Dacus's rendition of the title song a highlight. As Berger's pièce de résistance number says, "I've Got Life"; so does the film, right down to its poignant declaration to "let the sunshine in." --Doug ThomasJoin Ren and Stimpy in their bizarre and gross world that features the oddly lovable duo in some outlandish situations coupled with hilarious jokes. THE REN AND STIMPY SHOW: SEASONS FIVE & SOME MORE OF FOUR consists of amusing episodes combined with the gross-out humor that became popular when the show first premiered on Nickelodeon in 1991The animated misadventures of Ren and Stimpy on Nickelodeon came to a close with its fifth season, the entire controversial collection of which is bundled together with the second half of season 4. Some fans of the series seem less than enthralled by the shows that are compiled here (as series cr! eator John Kricfalusi and his Spumco team had been replaced by! Games A nimation), but there's still plenty of inspired insanity to be found; season 4 offers "My Shiny Friend" (Ren takes some extreme measures to cure Stimpy's TV addiction) and "Cheese Rush Days" (the boys head to the Blue Cheese Mountains to mine), while season 5 features "Stupid Sidekick Union" (Stimpy learns that his union is striking); "Reverend Jack Cheese" (the late Frank Gorshin lends his voice to a minister with a thing for meats and cheeses); "Wilderness Adventure," which includes the much-maligned George Liquor; and "Space Dogged" (a Russian cat/dog team--Ren and Stimpy lookalikes, natch-â€"are being sent into space).

As with previous R&S DVD sets, the supplemental features are somewhat spare--Kricfalusi and members of Spumco and Games contribute commentaries, and there's a featurette on the show--and the episodes are indeed the edited versions, but the comments by the show's creative team are both entertaining and informative. And no matter what your opinion! of these final episodes (before the show's revival as an Adult Party Cartoon on Spike TV), there's still plenty of stinky laughs to be had. --Paul GaitaChris Rock visits beauty salons and hairstyling battles, scientific laboratories and Indian temples to explore the way hairstyles impact the activities, pocketbooks, sexual relationships, and self-esteem of the black community in this exposé of comic proportions that only he could pull off. A raucous adventure prompted by Rock’s daughter approaching him and asking, "Daddy, how come I don’t have good hair?”, GOOD HAIR shows Chris Rock engaging in frank, funny conversations with hair-care professionals, beauty shop and barbershop patrons, and celebrities including Ice-T, Nia Long, Paul Mooney, Raven Symoné, Dr. Maya Angelou, Salt-N-Pepa, Eve and Reverend Al Sharpton â€" all while he struggles with the task of figuring out how to respond to his daughter's question.When one of Chris Rock's young daughters asked h! im an innocent question about having "good hair," the comedian! probabl y had no idea just how complicated the answer would be. Fortunately for us, he decided to find out, and the result is this funny, informative, and highly entertaining documentary of the same name. Turns out that for a great many African-American women (and quite a few men, too), "good hair" means "white hair"--i.e., straight and lanky--while the natural or "nappy" look is bad. And oh, the lengths and expense women will go to in order to get "good hair"! In the course of the film, which was directed by Jeff Stilson and cowritten by Rock and several others, Rock first travels to Atlanta, home of the Bronner Brothers Hair Show, where thousands of folks buy and learn how to use new products (the show is also the site of the outrageous and climactic Hair Battle Royale, in which four stylists compete for money and fame). It's there that he learns about sodium hydroxide, better known as hair "relaxer," the "nap antidote," or the "creamy crack" (as effective as the chemical substanc! e is for straightening hair, it can also be highly dangerous). In Harlem and Los Angeles, he investigates the extraordinary popularity of hair weaves, which can cost tens of thousands of dollars annually to create and maintain; Rock even goes to Madras, India, source of most of the hair used in weaves (for Indian women, tonsure, or shaving their heads, is a ritual act of self-sacrifice). Along the way, Rock interviews a great many young women with fabulous hair (including actresses Nia Long, Raven-Symoné, and Kerry Washington, and rappers Salt-N-Pepa), but he also talks to the esteemed poet Maya Angelou, as well as men like rapper-actor Ice-T and the Reverend Al Sharpton. Sharpton, who is very amusing (he's referred to as "the Dalai Lama of relaxed hair"), is about the only celeb who touches on racial issues, pointing out that while it's African Americans who use the overwhelming majority of these hair products, the companies who sell them tend to be owned by Asians. Some ! viewers may object to the film's lack of a strong socio-politi! cal stan ce, but others will no doubt prefer the lighter touch, including a hilarious discussion at a barber shop about dating women with hair weaves (basically, it's "hands off the hair, pal"). --Sam Graham

HAIR: The Story of the Show That Defined a Generation is the first and only authorized history of this groundbreaking showâ€"from its original conception, to its highly influential initial run, to its numerous productions, to the 2009 sell-out Broadway production, to the upcoming 2010-11 national tourâ€"including such pivotal points as the real-life events that inspired its creators, the original off-Broadway production, the 1968 move to Broadway, and recent productions from around the world. This stand-out book features over 200 4/c photographs and a stunning removable poster.

This 4-DVD set contains the final two seasons of the HBO comedy series "Tracey Takes On..." based on characters created and performed by Tracey Ullman. Each episode focuses on a particular subject (Sports, Love, Agents, Loss, etc.) in a sequence of hilarious scenes involving a number of Ullman-creat! ed characters.

BONUS FEATURES Includes 72 Minutes of Never! - Before -Seen Shows!

Special Guests include: Hugh Laurie (House) Julie Kavner (The Simpsons) Cheech Marin (Cars, Cheech & Chong) Michael McKean (Spinal Tap, Best In Show) Billy Connolly (Boondock Saints, The Aristocrats) Jennifer Jason Leigh (Fast Times At Ridgemont High) Corbin Bernsen (Psych, Major League)

Gangster No 1 [Blu-ray]

• UK Import
• Blu-ray
• Region-Free

"Fascinating" (The Hollywood Reporter) and "sensational" (Los Angeles Times), this bold, innovative thriller chronicles the bloody, single-minded climb of a barbarous crime lord to power. Starring Malcolm McDowell (A Clockwork Orange), Paul Bettany (A Beautiful Mind), David Thewlis (Naked) and Saffron Burrows (Deep Blue Sea), Gangster No. 1 enters the psyche of an unrepentant mobster and reveals the madman within. Bettany gives "a brilliantly eerie, star-making performance" (American Film Institute) as a ruthless mobster who slugs, claws and kills his way to the top. But when he learns that the former mentor (Thewlis) he put in prison is about to get out, this self-made monster must not only face a man whose life he ruined but the twisted remnants of his own demented conscience as well.This glinting, scalding gangland phantasmagoria offers a sort! of funhouse-mirror refraction of the life and career of a British hooligan so elemental in his right villainy that he's merely identified as "Gangster." The action begins in 1999, with Malcolm McDowell brutishly savoring his eminence as a crime lord; but more of the film is taken up with an extended flashback to 1968, when his youthful self--played by Paul Bettany (but voiced by McDowell during private reveries)--got his start. Bettany's patron is Freddie Mays, "the Butcher of Mayfair" (David Thewlis), a comparatively suave rotter whom "Young Gangster" more or less simultaneously worships, emulates, and craves to see destroyed. Director Paul McGuigan layers the eras and personalities in a kaleidoscope of jagged stylization (occasionally the image shatters like glass, then hellishly reconstitutes itself). The effect is less to tell a proper story than to suspend us in a state of mind--and a homage to McDowell's landmark role in A Clockwork Orange. But it does exert a! n unclean fascination. --Richard T. JamesonWhen a young! gangste r (Paul Bettany) starts working for gang leader Freddie Mays (David Thewlis), known as the Butcher of Mayfair, he dreams of being everything that Freddie is: smooth, sophisticated, impeccably dressed, always with the right women, and driving the fanciest cars. Freddie takes the young gangster (unnamed in the film but listed as Gangster 55 in the credits) under his wing as a potential war with a rival gang starts to heat up. After Freddie falls for Karen (Saffron Burrows), whom 55 had his eye on, the young gangster lies in wait for an opportunity to change things, and when that moment comes, he leaves a bloodbath of betrayal in his wake. Paul McGuigan's GANGSTER NO. 1 is framed by scenes set in the present, where the aging 55, played with delicious villainy by Malcolm McDowell, narrates the tale of his younger self's rise to power in Soho in the late 1960s. Bettany is a revelation as 55, who seems to enjoy a bit of the old ultraviolence now and again; when he tells a potential victim (or even a friend) to look into his eyes, it is hard for the audience as well not to be mesmerised--and scared out of their wits. McGuigan's fast-paced direction includes creative split screens, extreme close-ups, fireballs coming right at the viewer, and a sweeping handheld camera all set to a swinging 1960s score.This glinting, scalding gangland phantasmagoria offers a sort of funhouse-mirror refraction of the life and career of a British hooligan so elemental in his right villainy that he's merely identified as "Gangster." The action begins in 1999, with Malcolm McDowell brutishly savoring his eminence as a crime lord; but mo! re of the film is taken up with an extended flashback to 1968, when his youthful self--played by Paul Bettany (but voiced by McDowell during private reveries)--got his start. Bettany's patron is Freddie Mays, "the Butcher of Mayfair" (David Thewlis), a comparatively suave rotter whom "Young Gangster" more or less simultaneously worships, emulates, and craves to see destroyed. Director Paul McGuigan layers the eras and personalities in a kaleidoscope of jagged stylization (occasionally the image shatters like glass, then hellishly reconstitutes itself). The effect is less to tell a proper story than to suspend us in a state of mind--and a homage to McDowell's landmark role in A Clockwork Orange. But it does exert an unclean fascination. --Richard T. Jameson

Jersey Girl

• BADGLEY MISCHKA by Badgley Mischka
• Eau De Parfum Spray
• Set
• For Women
• Body Lotion

Small-time street hood Larry Gigli (Ben Affleck) has a reputation for big-time screw-ups. Ricki (Jennifer Lopez) is a tough gal gangster. When they're paired together on an assignment that careens wildly out of control, will they find a way to work through their personal differences and work out their mutual attraction?Many critics called Gigli one of the worst movies ever made, but their condemnation isn't entirely justified. The movie's got plenty of problems, such as inconsistent tone, gag-inducing dialogue, and a meandering plot that fails to generate momentum over 124 minutes. And yet, this character-based vehicle for Hollywood sweethearts Ben Affleck and Jennifer Lopez is not without its charms: To begin with, there's J-Lo, whose beauty and presence flourish despite he! r ill-conceived role as a lesbian contract killer. Critics were also wrong in saying Lopez lacks on-screen chemistry with her off-screen beau; there are moments when they click, but director Martin Brest's screenplay maintains sexual confusion right up to an ending that's a total cop-out. Affleck (who did the lesbian-love thing in Chasing Amy) plays another good-natured killer, and their joint kidnapping job (involving the mentally disabled brother of a federal prosecutor) is destined to fail for all the right reasons, even as this anti-romantic comedy (featuring scenery-chewing cameos by Christopher Walken and Al Pacino) fails for all the wrong ones. --Jeff ShannonThese 7 CDs cover the entire career of "the second Caruso," the most popular Italian tenor of the first half of the 20th century, from his first records made in Milan in 1918 to his Carnegie Hall farewell concert in 1955. Along with his operatic arias, duets and ensembles, he lends his famous honeye! d tone to Neapolitan and Italian popular songs; he sings Doniz! etti (fr om La Favorita ), Ponchielli (from La Gioconda ), Meyerbeer (from L'Africaine ), Verdi (from Rigoletto ), Gounod (from Faust ), Bizet (from Carmen ), Lalo (from Le Roi d'Ys ), Wagner (from Lohengrin ), Ambroise Thomas (from Mignon ), Handel (from Serse ), songs by Mascheroni, Bixio, Caslar, Mazziotti, Buchardo, Mascagni and many more!Many critics called Gigli one of the worst movies ever made, but their condemnation isn't entirely justified. The movie's got plenty of problems, such as inconsistent tone, gag-inducing dialogue, and a meandering plot that fails to generate momentum over 124 minutes. And yet, this character-based vehicle for Hollywood sweethearts Ben Affleck and Jennifer Lopez is not without its charms: To begin with, there's J-Lo, whose beauty and presence flourish despite her ill-conceived role as a lesbian contract killer. Critics were also wrong in saying Lopez lacks on-screen chemistry with her off-screen beau; there are moments when they click, but ! director Martin Brest's screenplay maintains sexual confusion right up to an ending that's a total cop-out. Affleck (who did the lesbian-love thing in Chasing Amy) plays another good-natured killer, and their joint kidnapping job (involving the mentally disabled brother of a federal prosecutor) is destined to fail for all the right reasons, even as this anti-romantic comedy (featuring scenery-chewing cameos by Christopher Walken and Al Pacino) fails for all the wrong ones. --Jeff ShannonHollywood favorites Ben Affleck (DAREDEVIL, PAYCHECK, THE SUM OF ALL FEARS) and Liv Tyler (LORD OF THE RINGS trilogy, ARMAGEDDON) shine in this heartwarming all-star comedy about a guy who thinks he's lost it all only to discover he's got everything he needs! Ollie (Affleck) is a smooth and successful big-city publicist who has the life he's always wanted -- until things take an unexpected turn and he finds himself an unemployed single father back living with his dad in the sub! urbs. But just when he thinks his life has hit rock bottom, a ! sexy, no -nonsense video store clerk (Tyler) enters his life and shows Ollie that sometimes you have to forget who you thought you were and acknowledge what really makes you happy. Also starring Jason Biggs (AMERICAN PIE) -- director Kevin Smith (JAY AND SILENT BOB STRIKE BACK) has delivered another hit critics are calling one of the year's funniest!Jersey Girl stars Ben Affleck as a workaholic music executive who loses his wife (Jennifer Lopez) in childbirth and has to raise his newborn daughter with the help of his crotchety New Jersey dad (George Carlin). The movie unspools as if writer-director Kevin Smith, normally a highly self-aware filmmaker (Clerks, Chasing Amy, Dogma), set out to put a fresh spin on every cliché he could imagine (parent forced to choose between child and career; parent rushing to attend school performance; etc.)--then forgot to put in the spin. The scenes that aren't lifeless are implausible (Liv Tyler plays the fantasy girl of ! every awkward boy's dreams). The only real feeling comes from the strong soundtrack. However, Raquel Castro, as the daughter, is an uncanny double for Lopez; when the light plays across Castro's cheekbones just so, you'd swear the casting director simply shrunk Lopez for convenience. --Bret Fetzer

Trilogy of Terror (Special Edition)

• Legendary producer/director Dan Curtis (DARK SHADOWS, THE NIGHT STALKER) teams up with writers Richard Matheson (I AM LEGEND, THE TWILIGHT ZONE) and William F. Nolan (LOGAN S RUN, BURNT OFFERINGS) to present three tales of horrific suspense in this made-for-television anthology that also showcases the tremendous acting talent of Karen Black (FIVE EASY PIECES, THE DAY OF THE LOCUST), who plays four

It's back! The classic TV MOW that continues to cast a spell almost 40 years after it was first broadcast; in a new remastered and enhanced edition. Sally (Kim Darby) and Alex Farnham's (Jim Hutton) marriage has a sinister wedge driven through it; when her occult "imaginings" threaten to derail his career after they inherit Sally's grandmother's house. Also starring William Demarest. Enhanced Content: Superfan commentary track from horror fans and pros Jeffrey Reddick, Steve Barton ("Uncle Creepy") ! and Sean Abley.

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

An old house...a mysterious locked room... a terrifying secret. Elements that make a horror movie memorably chilling get a taut, spooky reworking in Don't Be Afraid of the Dark. Kim Darby (True Grit) and Jim Hutton (The Green Berets) star as Sally and Alex, young marrieds who inherit a crumbling mansion. Despite warnings to leave well enough alone in her new home, Sally unlocks the mysterious room, opens a bricked-up fireplace - and unleashes a horde of hideous, whispering, murdering mini-demons only she can see and hear. Alex thinks she's imagining things. We know she isn't. And we know Sally should be very, very afraid of the dark!

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

Legendary producer / director Dan Curtis (DARK SHADOWS, THE NIG! HT STALKER) teams up with writers Richard Matheson (I AM LEGEN! D, THE T WILIGHT ZONE) and William F. Nolan (LOGAN’S RUN, BURNT OFFERINGS) to present three tales of horrific suspense in this made-for-television anthology that also showcases the tremendous acting talent of Karen Black (FIVE EASY PIECES, THE DAY OF THE LOCUST), who plays no less than four distinct roles. In "Julie," an aggressive college student seduces and ultimately blackmails his seemingly shy English professor. In "Millicent and Therese," two polar-opposite sisters become increasingly hell-bent on the undoing of one another. And in "Amelia," a woman falls prey to a murderous Zuni fetish doll.

Dan Curtis, the creator and producer of such out-of-the-ordinary TV classics as the willfully offbeat gothic soap opera Dark Shadows and the proto-X-Files series The Night Stalker, remains best known for the Zuni fetish doll that terrorizes Karen Black in Trilogy of Terror. The wild-eyed doll, with its snapping jaws and screeching yells, borders on camp, y! et its relentless attacks and single-minded, homicidal drive make it an absolutely terrifying figure in the climactic chapter of this trilogy of short films based on stories by Richard Matheson. In the first story, "Julie," Karen Black plays a mousy college professor blackmailed by an obsessed student, and in "Millicent and Therese" she plays sisters consumed with an intense hatred of one another that comes to a head when their father dies. Both of these films conclude with Twilight Zone-ish twists and are more clever than gripping, kept alive mostly by Black's gleefully theatrical performances. With "Amelia," however, Black delivers an almost solo show, playing against the famous Zuni fetish doll, a wooden statue that comes to life when the a protective chain slips off the figure and releases the evil spirit. Curtis turns her apartment into a claustrophobic cage trapping the increasingly hysterical woman as the unstoppable figure hacks at her legs with a kitchen kni! fe and chomps down on her arms and neck with the relentless in! tensity of a bulldog. It's still a classic of small-screen horror. --Sean Axmaker

Maximum Risk / Double Team

• English 5.1 Dolby Digital, Spanish
• Subtitles English French Spanish
• Full Screen

No Description Available.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 1-MAR-2005
Media Type: DVDLook ma, no script! As expected from a movie by Hong Kong action director Hark Tsui, there are many explosive, fast-paced sequences in this Jean-Claude Van Damme vehicle. Some are thrilling, others inconsequential. There is also another mumbling, overdone performance by Mickey Rourke, who looks as if he performed his own plastic surgery. Except for an unintentionally humorous ending, the only surprise is Dennis Rodman as Van Damme's partner in exploitation. Rodman has plenty of charisma, but needs someone to weed out those inferior scripts. He plays an eccentric arms dealer coerced by an avenging Van Damme into tracking down the evil and sadistic! ally weird character played by a well-muscled Rourke. It says little for the production that the best sequence of the movie occurs a quarter of the way into the action. It concerns an escape by Van Damme from an island think tank for forcibly retired covert agents. After that, everyone should have gone home. --Rochelle O'Gorman Double Disc Set

Citizen Kane (Two-Disc Special Edition)

• A fascinating story of idealism corrupted by wealth, Citizen Kane is frequently named the greatest film of all time and is credited with inspiring more directorial careers than any other film in history. Orsen Welles and Agnes Moorehead star.Running Time: 119 min. Format: DVD MOVIE Genre: DRAMA Rating: PG Age: 053939656527 UPC: 053939656527 Manufacturer No: T6

Orson Welles’ timeless masterwork is more than a groundbreaking film. Presented here in a magnificent 70th anniversary digital transfer with revitalized digital audio from the highest quality surviving elements, it is also grand entertainment, sharply acted and superbly directed with inspired visual flair. Depicting the controversial life of an influential publishing tycoon, this Best Original Screenplay Academy Award Winner (1941) is rooted in themes of power, corruption, vanityâ€"the American Dream lost in the mystery of a dyin! g man’s last word: “Rosebud.”Arguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mother as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles's awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer's subconsciousness. As Kan! e, Welles even ushers in the influence of Bertolt Brecht on fi! lm actin g. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films from the 20th century. --Tom KeoghThe story of an immensely wealthy newspaper publisher, as he is remembered by his friends and former wife after his death. Loosely based on the life of William Randolph Hearst. Frequently called the greatest film of all time.
No Track Information Available
Media Type: DVD
Artist: WELLES/COTTEN/COMINGORE/MOOREH
Title: CITIZEN KANE
Street Release Date: 09/24/2002
Domestic
Genre: DRAMAArguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mot! her as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles's awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer's subconsciousness. As Kane, Welles even ushers in the influence of Bertolt Brecht on film acting. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films from the 20th century. --Tom Keogh

The Devils Rejects Tiny Action Figure

• Rob Zombie's THE DEVILS REJECTS
• Tiny action figure by NECA
• Rare figure from 2005!
• Figure stands 9in tall!

Directed by the prolific Rob Zombie, The Devil's Rejects is the sequel to 2003's successful House Of 1000 Corpses, and picks up several weeks after House left off. The music featured on the soundtrack plays an integral part in the film, including the shocking ending featuring the Lynyrd Skynyrd classic 'Free Bird'. Hip-O. 2005.