Neat-Oh! ZipBin Dinosaur Medium Play Set

• Dramatic exterior theme identifies the contents
• Unzipped bin becomes a perfect dinosaur island play mat for playing with dinosaurs, animals,vehicles, boats, action figures and more
• Play mat becomes the storage bin in a zip
• Includes 2 dinosaurs
• Recommended ages between 36 months - 8 years

ZipBin is more than great-looking storage. It's a portable play world that unzips to reveal space to play, create and imagine. And it's easy to clean up... in a zip!

The Dinosaur storage bin's dramatic exterior theme identifies the contents and will look great in your child's room. When the bin is unzipped, it becomes a dinosaur island play mat, complete with a colorful island, a volcano, and oozing tar pit and a mysterious cave. When play is done, the play mat becomes the storage bin in a zip, capturing the toys inside. ZipBin measures approximately 16" x 13" x 9".

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Black Flag Brands, Llc 8Pk Fly Paper Ribbon 34624 Flying Insect Trap

• "BLACK FLAG BRANDS" FLY PAPER RIBBON
• 8 pack
• Non-toxic.
• No harmful vapors.
• Tat fly paper ribbon.

Two gangs of robbers descend on the same bank but hearts are what may be stolen instead in flypaper a midcap crime comedy from the screenwriters of the blockbuster the hangover. Studio: Mpi Home Video Release Date: 11/15/2011 Starring: Patrick Dempsey Tim Blake Nelson Run time: 87 minutes Rating: Nr Director: Rob MinkoffSee dvd for synposis Studio: Mpi Home Video Release Date: 11/15/2011 Run time: 89 minutes Rating: PgFLYPAPER - DVD MovieFlypaper is a curious name for this shaggy-dog film about characters who continually cross paths as their lives careen out of control. Craig Sheffer is the ostensible lead, though his hotheaded, gun-toting criminal is hardly the picture's hero. He kick-starts the story by kidnapping meth lab chemist Lucy Liu, and! then hunts down his junkie girlfriend, Sadie Frost, who is now under the care of her crotchety real estate mogul guardian (Robert Loggia). In the very next room is John C. McGinley, cheating on his jealous future bride, Illeana Douglas, with Talisa Soto, a dominatrix in tight leather. The film plays out these threads as if they are destined to intertwine in some improbable climax, but instead they merely crisscross in passing, finally fraying in a soft, anticlimactic conclusion. The performers try to have some fun with their familiar parts, and writer-director Klaus Hoch tosses in a few curve balls (my favorite is the knife sticking out of Sheffer's skull like a topknot, turning the homicidal heist man into a punch-drunk pussycat), but for all his offbeat humor and funky twists, nothing in Flypaper ever sticks. --Sean Axmaker8 Pack, TAT Fly Paper Ribbon, Non-Toxic, Catches All Flying Insects, No Harmful Vapors, Kills Without Chemical Insecticides.

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Festival in Cannes - Anouk Aimee - Movie Poster 27" X 40" (379)

• Festival in Cannes
• Anouk Aimee
• Movie
• Poster
• Measures 27" X 40"

Filming on location in France during the 1999 Cannes Film Festival, Henry Jaglom goes behind the scenes to explore how movies get made (and unmade). He would know--he's been making them for decades now. In this one, he takes an Altman-meets-Cassavetes approach to his subject. While former actress Alice (Greta Scacchi), for instance, is trying to get her directorial debut off the ground, film icon Millie (Anouk Aimée) is trying to decide between the lead in Alice's indie and a (better-paying) cameo in the new Tom Hanks vehicle. As in The Player, Jaglom focuses on several characters and, as in many Cassavetes pictures, the dialogue feels improvised. If Festival in Cannes is less emotionally involving than 1997's Déjà Vu (arguably his best), it still provides a fine showcase f! or a talented cast, including Maximilian Schell as Millie's husband and Ron Silver as the producer behind the Hanks project. --Kathleen C. FennessyFESTIVAL IN CANNES Movie Poster. Starring: Anouk Aimée & Greta Scacchi. Written and Directed by: Henry Jaglom. 2002 Paramount Pictures. Measures 27" X 40"

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Hot Rods to Hell

• The Phillips Family is chased by rowdy teenagers on their way through California. Runtime: 92 mins Format: DVD MOVIE Genre: TELEVISION Rating: NR Age: 012569797284 UPC: 012569797284 Manufacturer No: 79728

Andy Samberg stars as Rod Kimble, a stuntman with a fake mustache and a dream, in this outrageous comedy so unpredictable you won't know what hit you! Rod has never landed a jump without wiping out. His family and friends think he's a joke. And, to top it off, his stepfather Frank uses him as his own personal pinching bag. But he's not going to let a few minor problems keep him from the biggest stunt of his life!

Co-starring Isla Fisher and Ian McShane, Hot Rod is "very, very funny from start to finish" and scales the heights of hilarity as Rod defies death to win the money, win the girl and, ultimately, win some respect. After making a name for himself on SNL through a! series of shorts, particularly viral video favorite "Lazy Sunday," the way was clear for Andy Samberg to segue to the big screen. Directed by SNL scribe Akiva Schaffer, Hot Rod proves his humor works best in small doses. Then again, producer Will Ferrell got his start in A Night at the Roxbury. In his first starring role, Samberg is amateur stuntman Rod Kimble. To raise money for his ailing stepfather, Frank (played with devilish glee by Deadwood's Ian McShane), Rod plans to jump 15 school buses on a moped. With support from his crew, which includes SNL's Bill Hader and Isla Fisher (Wedding Crashers), Rod trains for the big event. All the while, Denise (Fisher) is seeing obnoxious attorney Jonathan (Will Arnett, Arrested Development). Lack of physical dexterity aside, Rod prevails through pure dogged determination. You've seen it before, and if you can't get enough of this sort of thing, you'll see it again. Hot Rod i! s the kind of slapdash comedy that neglects to provide its her! o with a n age, a job, or even a hometown. But don't count Samberg out. Given time, he may yet craft a persona that doesn't borrow so heavily from the man-boy antics associated with Ferrell and Adam Sandler. Still, Hot Rod would've worked better with the funnier, more sympathetic Jorma Taccone, who plays Rod's half-brother, in the lead--on the other hand, that's the same formula that made Napoleon Dynamite a hit. --Kathleen C. FennessyAmateur stuntman Rod Kimble (ANDY SAMBERG) has a problem â€" his step-father Frank (IAN MCSHANE) is a jerk. Frank picks on Rod, tosses him around like a rag doll in their weekly sparring sessions, and definitely doesn't respect him, much less his stunts. But when Frank falls ill, it's up to Rod to stage the jump of his life in order to save his step-father. The plan: Jump 15 buses, raise the money for Frank's heart operation, and then... kick his ass.After making a name for himself on SNL through a series of shorts, particularly vir! al video favorite "Lazy Sunday," the way was clear for Andy Samberg to segue to the big screen. Directed by SNL scribe Akiva Schaffer, Hot Rod proves his humor works best in small doses. Then again, producer Will Ferrell got his start in A Night at the Roxbury. In his first starring role, Samberg is amateur stuntman Rod Kimble. To raise money for his ailing stepfather, Frank (played with devilish glee by Deadwood's Ian McShane), Rod plans to jump 15 school buses on a moped. With support from his crew, which includes SNL's Bill Hader and Isla Fisher (Wedding Crashers), Rod trains for the big event. All the while, Denise (Fisher) is seeing obnoxious attorney Jonathan (Will Arnett, Arrested Development). Lack of physical dexterity aside, Rod prevails through pure dogged determination. You've seen it before, and if you can't get enough of this sort of thing, you'll see it again. Hot Rod is the kind of slapdash comedy that neglects to pr! ovide its hero with an age, a job, or even a hometown. But don! 't count Samberg out. Given time, he may yet craft a persona that doesn't borrow so heavily from the man-boy antics associated with Ferrell and Adam Sandler. Still, Hot Rod would've worked better with the funnier, more sympathetic Jorma Taccone, who plays Rod's half-brother, in the lead--on the other hand, that's the same formula that made Napoleon Dynamite a hit. --Kathleen C. FennessyAmateur stuntman Rod Kimble (ANDY SAMBERG) has a problem â€" his step-father Frank (IAN MCSHANE) is a jerk. Frank picks on Rod, tosses him around like a rag doll in their weekly sparring sessions, and definitely doesn't respect him, much less his stunts. But when Frank falls ill, it's up to Rod to stage the jump of his life in order to save his step-father. The plan: Jump 15 buses, raise the money for Frank's heart operation, and then... kick his ass. After making a name for himself on SNL through a series of shorts, particularly viral video favorite "Lazy Sunday," the way ! was clear for Andy Samberg to segue to the big screen. Directed by SNL scribe Akiva Schaffer, Hot Rod proves his humor works best in small doses. Then again, producer Will Ferrell got his start in A Night at the Roxbury. In his first starring role, Samberg is amateur stuntman Rod Kimble. To raise money for his ailing stepfather, Frank (played with devilish glee by Deadwood's Ian McShane), Rod plans to jump 15 school buses on a moped. With support from his crew, which includes SNL's Bill Hader and Isla Fisher (Wedding Crashers), Rod trains for the big event. All the while, Denise (Fisher) is seeing obnoxious attorney Jonathan (Will Arnett, Arrested Development). Lack of physical dexterity aside, Rod prevails through pure dogged determination. You've seen it before, and if you can't get enough of this sort of thing, you'll see it again. Hot Rod is the kind of slapdash comedy that neglects to provide its hero with an age,! a job, or even a hometown. But don't count Samberg out. Given! time, h e may yet craft a persona that doesn't borrow so heavily from the man-boy antics associated with Ferrell and Adam Sandler. Still, Hot Rod would've worked better with the funnier, more sympathetic Jorma Taccone, who plays Rod's half-brother, in the lead--on the other hand, that's the same formula that made Napoleon Dynamite a hit. --Kathleen C. FennessyStudio: Victor Multimedia-05 Release Date: 10/16/2007 Run time: 60 minutesLike something that rolled out of a garage in Andy Hardy's hometown of Carvel Indiana comes Hot Rod. James Lydon (whose radio and film portrayals of Henry Aldrich were perhaps but a half-block removed from Andy) stars as David Langham, an enterprising youth with an eye for the girls and an ear for a well-tuned high-compression machine. And his dad? He's a sagacious font of advice (Art Baker) who happens to be a small town judge. The film, which combines the excitement of tire-singing speed with a cautionary message about the perils ! of street racing, would see a stream of redlining exploitation flicks in its rearview, Hot Rod Girl, Hot Rod Gang and Hot Rods to Hell among them.

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

HOT RODS TO HELL - DVD Movie

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

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

Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve! James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's no! t much, but for loyal fans it's probably enough. --Jeff Sh! annonFrom John Carpenter, the master of horror behind 1998's hit John Carpenter's Vampires and classics like The Thing and Halloween, comes a sci-fi thriller full of explosive action and bone-chilling suspense. Natasha Henstridge (Species) is Melanie Ballard, a headstrong police lieutenant on Mars in the year 2025. Humans have been colonizing and mining on the red planet for some time, but when Ballard and her squad are sent to a remote region to apprehend the dangerous criminal James "Desolation" Williams, played by Ice Cube (Three Kings), they discover that he's the least of their worries. The mining operations have unleashed a deadly army of Martian spirits who take over the bodies of humans and won't stop until they destroy all invaders of their planet. With a stellar cast including Pam Grier (Jackie Brown), Jason Statham (Snatch) and Clea Duvall (The Faculty), as well as explosive special effects, John Carpenter's Gh! osts of Mars is an intergalactic terror fest like you've never seen.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonis! ts have nearly all been possessed by ancient Martian spirits ! bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonNASTHASHA HENSTRIDGE, PAM GRIER AND ICE CUBE MUST BATTLE IT OUT AGAINST PRIMITIVE MARTIAN GHOSTS WHO WILL STOP AT NOTHING TOANNIHILATE THE HUMAN INVADERS WHO HAVE DISTURBED THEI! R PLANET.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits be! nt on reclaiming the planet, turning them into an army of sel! f-mutila ting freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGhosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director'! s rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance! between cops and criminals is a predictable excuse for rampa! nt battl e scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGHOSTS OF MARS/VAMPIRES 2-PACK - DVD MovieGhosts of Mars
Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various con! nections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects! and some laughable dialogue), resulting in the gruesome dispa! tch of e xpendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff Shannon

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

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

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The Great Debaters

• Denzel Washington directs and stars in this uplifting drama based on a true story about a small East Texas all-black college in 1935 that rises to the top of the nation's debate teams in a duel against Harvard. A poet and debating coach at Wiley College, Professor Melvin Tolson (Washington) sees debating as "a blood sport" and recruits the meanest and brightest, including troubled Henr

An inspirational drama, Akeelah and the Bee is the story of Akeelah Anderson (Keke Palmer), a precocious eleven-year-old girl from south Los Angeles with a gift for words. Despite the objections of her mother Tanya (Angela Bassett), Akeelah enters various spelling contests, for which she is tutored by the forthright Dr. Larabee (Laurence Fishburne); her principal Mr. Welch (Curtis Armstrong) and the proud residents of her neighborhood. Akeelah’s aptitude earns her an opportunity to compete for a spot in th! e Scripps National Spelling Bee and in turn unites her neighborhood who witness the courage and inspiration of one amazing little girl.There aren't enough superlatives in the dictionary to describe the excellence of Akeelah and the Bee. Superbly written and directed by Doug Atchison, this PG-rated family drama covers the same dramatic territory as the acclaimed 2002 documentary Spellbound and the 2005 drama Bee Season, but the fictional story of 11-year-old Akeelah Anderson (Keke Palmer) is, if anything, even more entertaining, inspiring, and full of hope for the potential of children everywhere. Although reluctant at first (and fearful of being labeled a "brainiac" by classmates at her under-funded middle school in South Central Los Angeles), Akeelah grows determined to win the district, regional, and ultimately the Scripps National Spelling Bee, aided by the able coaching of an English professor (Laurence Fishburne) who, like Akeelah's overworked sing! le mother (Angela Bassett) is slowly recovering from a devasta! ting per sonal loss. Structured like a conventional sports drama, Akeelah and the Bee rises above its generic trappings to become an uplifting and deeply moving study of friendship, pride, fair play, and above all, the value of self-confidence and realization that there's more to life than winning. As played by the young Palmer in an award-worthy performance, Akeelah is a winner in the best sense of the word, and so is this wonderfully positive movie. --Jeff ShannonAn inspirational drama, Akeelah and the Bee is the story of Akeelah Anderson (Keke Palmer), a precocious eleven-year-old girl from south Los Angeles with a gift for words. Despite the objections of her mother Tanya (Angela Bassett), Akeelah enters various spelling contests, for which she is tutored by the forthright Dr. Larabee (Laurence Fishburne); her principal Mr. Welch (Curtis Armstrong) and the proud residents of her neighborhood. Akeelah’s aptitude earns her an opportunity to compete for a spot in th! e Scripps National Spelling Bee and in turn unites her neighborhood who witness the courage and inspiration of one amazing little girl.There aren't enough superlatives in the dictionary to describe the excellence of Akeelah and the Bee. Superbly written and directed by Doug Atchison, this PG-rated family drama covers the same dramatic territory as the acclaimed 2002 documentary Spellbound and the 2005 drama Bee Season, but the fictional story of 11-year-old Akeelah Anderson (Keke Palmer) is, if anything, even more entertaining, inspiring, and full of hope for the potential of children everywhere. Although reluctant at first (and fearful of being labeled a "brainiac" by classmates at her under-funded middle school in South Central Los Angeles), Akeelah grows determined to win the district, regional, and ultimately the Scripps National Spelling Bee, aided by the able coaching of an English professor (Laurence Fishburne) who, like Akeelah's overworked sing! le mother (Angela Bassett) is slowly recovering from a devasta! ting per sonal loss. Structured like a conventional sports drama, Akeelah and the Bee rises above its generic trappings to become an uplifting and deeply moving study of friendship, pride, fair play, and above all, the value of self-confidence and realization that there's more to life than winning. As played by the young Palmer in an award-worthy performance, Akeelah is a winner in the best sense of the word, and so is this wonderfully positive movie. --Jeff ShannonDVDSpellbound is the extraordinary documentary that follows eight teenagers on their quest to win the National Spelling Bee competition.Who would have thought that a documentary about spelling-bee contestants could be as suspenseful as a Hitchcock thriller? Spellbound, which follows eight kids from their early victories in regional spelling bees to the national competition in Washington, D.C., is an out-and-out nail-biter. Each of the kids--who range from a quietly driven African American girl from a r! un-down D.C. neighborhood, to a genial Connecticut girl who talks about bringing her au pair to a previous competition, to an almost zombie-like boy whose immigrant father has paid 1,000 people back in India to pray for the boy's success--gets captured so vividly that you can't help but get emotionally immersed in their brave, nerve-wracking struggle to spell slippery, treacherous words. Along the way, Spellbound contrasts the crazily different populations that make up the U.S. and shows how this facet of intelligence truly makes everyone equal on the podium. A riveting, wrenching, must-see movie. --Bret FetzerTwo-time Academy Award® winner Denzel Washington (American Gangster) directs and stars with Academy Award® winner Forest Whitaker (Last King of Scotland) in this important and deeply inspiring page from the not-so-distant past (Richard Roeper, At the Movies with Ebert and Roeper). Inspired by a true story, Washington shines as a brilliant but po! litically radical debate team coach who uses the power of word! s to tra nsform a group of underdog African American college students into an historical powerhouse that took on the Harvard elite. DVD Special Features:

Deleted Scenes
The Great Debaters: An Historical Perspective. That's What My Baby Likes; Music Video.
My Soul Is A Witness; Music Video
Theatrical Trailer
Sneak Peeks: Grace is Gone, Cassandra's Dream, I'm Not There, Hunting PartyInspired by real events, the fascinating The Great Debaters reveals one of the seeds of the Civil Rights Movement in its story of Melvin B. Tolson (Denzel Washington in a captivating performance) and his champion 1935 debate club from the all-African-American Wiley College in Texas. Tolson, a Wiley professor, labor organizer, modernist poet, and much else, runs a rigorous debate program at the school, selecting four students as his team in ’35, among them the future founder of the Congress of Racial Equality, James Farmer Jr. (Denzel Whitaker). Washington, who directed Th! e Great Debaters from a script by Robert Eisele (The Dale Earnhardt Story), anchors the story with the team’s measurable progress, but the film is also about the state of race relations in America at the height of the Great Depression. With lynchings of black men and women a common form of entertainment and black subjugation for many rural whites, the idea of talented and highly intelligent African-American young people learning to think on their feet during debates would seem almost a hopeless endeavor. But that’s not the way Tolson sees it, as his students serve themselves and the cause of racial equality in America with energetic arguments in favor of progressive government and non-violence as a viable social movement. There are some startling moments in this movie, particularly the sight of a man found lynched and burned to death, and an extraordinary moment in which we see black sharecroppers and white farmers engaged with Tolson in arguments about union! izing together. Forest Whitaker is outstanding as Farmer’s e! motional ly-reserved father, also a Wiley professor. This is the kind of film where one hopes two great actors such as the elder Whitaker and Washington will have a scene together, and when it comes it’s as powerful as one might hope. --Tom Keogh

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All About My Mother

• Widescreen
• Exclusive Interview with director Pedro Almodovar
• Subtitles in English and French
• Director's production notes
• Talent files

A single mother in Madrid sees her only son die on his 17th birthday as he runs to seek an actress's autograph. She goes to Barcelona to find the lad's father, a transvestite named Lola who does not know he has a child. First she finds her friend, Agrado, also a transvestite; through him she meets Rosa, a young nun bound for El Salvador, and by happenstance becomes the personal assistant of Huma Rojo, the actress her son admired. She helps Huma manage Nina, the co-star and Huma's lover, and she becomes Rosa's caretaker during a dicey pregnancy. With echoes of Lorca, All About Eve, and A Streetcar Named Desire, the mothers (and fathers and actors) live out grief, love, and friendship.After her son is killed in an acc! ident, Manuela (Cecilia Roth) leaves Madrid for her old haunts in Barcelona. She reconnects with an old friend, a pre-op transsexual prostitute named La Agrado (Antonia San Juan), who introduces her to Rosa (Penélope Cruz), a young nun who turns out to be pregnant. Meanwhile, Manuela becomes a personal assistant for Huma Rojo (Marisa Paredes), an actress currently playing Blanche DuBois in a production of A Streetcar Named Desire. All About My Mother traces the delicate web of friendship and loss that binds these women together. The movie is dedicated to the actresses of the world, so it's not surprising that all the performances are superb. Roth in particular anchors All About My Mother with compassion and generosity. But fans of writer-director Pedro Almodóvar needn't fret--as always, Almodóvar's work undermines conventional notions of sexual identity and embraces all human possibilities with bright colors and melodramatic plotting. However, A! ll About My Mother approaches its twists and turns with a ! broader emotional scope than most of Almodóvar's work; even the more extravagant aspects of the story are presented quietly, to allow the sadness of life to be as present as the irrepressible vitality of the characters. Almodóvar embraces pettiness, jealousy, and grief as much as kindness, courage, and outrageousness, and the movie is the richer for it. --Bret FetzerAfter her son is killed in an accident, Manuela (Cecilia Roth) leaves Madrid for her old haunts in Barcelona. She reconnects with an old friend, a pre-op transsexual prostitute named La Agrado (Antonia San Juan), who introduces her to Rosa (Penélope Cruz), a young nun who turns out to be pregnant. Meanwhile, Manuela becomes a personal assistant for Huma Rojo (Marisa Paredes), an actress currently playing Blanche DuBois in a production of A Streetcar Named Desire. All About My Mother traces the delicate web of friendship and loss that binds these women together. The movie is dedicated to the actres! ses of the world, so it's not surprising that all the performances are superb. Roth in particular anchors All About My Mother with compassion and generosity. But fans of writer-director Pedro Almodóvar needn't fret--as always, Almodóvar's work undermines conventional notions of sexual identity and embraces all human possibilities with bright colors and melodramatic plotting. However, All About My Mother approaches its twists and turns with a broader emotional scope than most of Almodóvar's work; even the more extravagant aspects of the story are presented quietly, to allow the sadness of life to be as present as the irrepressible vitality of the characters. Almodóvar embraces pettiness, jealousy, and grief as much as kindness, courage, and outrageousness, and the movie is the richer for it. --Bret Fetzer

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Becoming Jane [Blu-ray]

• Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, Subtitled, Widescreen
• Language: English (Dolby Digital 2.0), English (Dolby Digital 5.1), Spanish (Dolby Digital 5.1)
• Aspect Ratio: 2.35:1
• Run Time: 120 minutes
• Actors: Guy Carleton, Philip Culhane, Joe Anderson (VI), Michael James Ford, Jessica Ashworth

Anne Hathaway (The Devil Wears Prada, The Princess Diaries) gives a radiant performance as a young, love-struck Jane Austen in the witty and engaging romantic comedy Becoming Jane from Miramax Films. It s the untold romance that inspired the novels of one of the world s most celebrated authors. When the dashing Tom Lefroy (James McAvoy, The Last King Of Scotland), a reckless and penniless lawyer-to-be, enters Jane s life, he offends the emerging writer s sense and sensibility. Soon their clashing egos set off sparks that ignite a passionate romance and fuel ! Jane s dream of doing the unthinkable marrying for love. Becoming Jane, also starring the acclaimed Maggie Smith, James Cromwell and Julie Walters, is an enchanting and imaginative film you ll fall head over heels forLike Molière, which was released in theaters around the same time, Becoming Jane isn't a conventional biopic. Instead, Julian Jarrold (White Teeth) expands on events from Jane Austen's life that may have shaped her fiction. To his credit, he doesn't stray too far from the facts. In 1795, 20-year-old Jane (Anne Hathaway with believable British accent) is an aspiring author. Her parents (Julie Walters and James Cromwell) married for love, and money is tight. They hope to see their youngest daughter make a more lucrative match, and there's a besotted local, Mr. Wisley (Laurence Fox, son of actor James Fox), who would be happy to oblige. Unfortunately, Jane isn't interested. Then, she meets brash law student Tom (The Last King of Scotland's! James McAvoy), while he's staying with relatives in rural! Hampshi re. As in many Austen novels, it isn't love at first sight--but rather irritation. Just as affection begins to bloom, Tom has to return to London, and Wisley, whose financial prospects are superior, proposes. To complicate matters, Tom's uncle (Ian Richardson in his final performance) disapproves of the outspoken young lady just as much as Wisley's aunt (Maggie Smith, lending the proceedings some subtle humor). Had Austen penned the script, Tom and Wisley would be combined into one person, but life doesn't work that way--and nor does Becoming Jane. Though Jarrold's effort may not be as swoon-worthy as Joe Wright's Pride and Prejudice, it remains true to the spirit of the author's work. --Kathleen C. FennessyAnne Hathaway (Love and Other Drugs) gives a radiant performance as a young, love-struck Jane Austen in the witty and engaging romantic comedy Becoming Jane. It s the untold romance that inspired the novels of one of the world's most cel! ebrated authors. When the dashing Tom Lefroy (James McAvoy, Atonement), a reckless and penniless lawyer-to-be, enters Jane's life, he offends the emerging writer's sense and sensibility. Soon their clashing egos set off sparks that ignite a passionate romance and fuel Jane's dream of doing the unthinkable--marrying for love. Becoming Jane, also starring the acclaimed Maggie Smith, James Cromwell and Julie Walters, is an enchanting and imaginative film you'll fall head over heels for.Like Molière, which was released in theaters around the same time, Becoming Jane isn't a conventional biopic. Instead, Julian Jarrold (White Teeth) expands on events from Jane Austen's life that may have shaped her fiction. To his credit, he doesn't stray too far from the facts. In 1795, 20-year-old Jane (Anne Hathaway with believable British accent) is an aspiring author. Her parents (Julie Walters and James Cromwell) married for love, and money! is tight. They hope to see their youngest daughter make a mor! e lucrat ive match, and there's a besotted local, Mr. Wisley (Laurence Fox, son of actor James Fox), who would be happy to oblige. Unfortunately, Jane isn't interested. Then, she meets brash law student Tom (The Last King of Scotland's James McAvoy), while he's staying with relatives in rural Hampshire. As in many Austen novels, it isn't love at first sight--but rather irritation. Just as affection begins to bloom, Tom has to return to London, and Wisley, whose financial prospects are superior, proposes. To complicate matters, Tom's uncle (Ian Richardson in his final performance) disapproves of the outspoken young lady just as much as Wisley's aunt (Maggie Smith, lending the proceedings some subtle humor). Had Austen penned the script, Tom and Wisley would be combined into one person, but life doesn't work that way--and nor does Becoming Jane. Though Jarrold's effort may not be as swoon-worthy as Joe Wright's Pride and Prejudice, it remains true to the spirit of ! the author's work. --Kathleen C. FennessyAnne Hathaway (The Devil Wears Prada, The Princess Diaries) gives a radiant performance as a young, love-struck Jane Austen in the witty and engaging romantic comedy Becoming Jane from Miramax Films. It s the untold romance that inspired the novels of one of the world s most celebrated authors. When the dashing Tom Lefroy (James McAvoy, The Last King Of Scotland), a reckless and penniless lawyer-to-be, enters Jane s life, he offends the emerging writer s sense and sensibility. Soon their clashing egos set off sparks that ignite a passionate romance and fuel Jane s dream of doing the unthinkable marrying for love. Becoming Jane, also starring the acclaimed Maggie Smith, James Cromwell and Julie Walters, is an enchanting and imaginative film you ll fall head over heels forLike Molière, which was released in theaters around the same time, Becoming Jane isn't a conventional biopic. Instead, Julian Jarrold (White ! Teeth) expands on events from Jane Austen's life that may ! have sha ped her fiction. To his credit, he doesn't stray too far from the facts. In 1795, 20-year-old Jane (Anne Hathaway with believable British accent) is an aspiring author. Her parents (Julie Walters and James Cromwell) married for love, and money is tight. They hope to see their youngest daughter make a more lucrative match, and there's a besotted local, Mr. Wisley (Laurence Fox, son of actor James Fox), who would be happy to oblige. Unfortunately, Jane isn't interested. Then, she meets brash law student Tom (The Last King of Scotland's James McAvoy), while he's staying with relatives in rural Hampshire. As in many Austen novels, it isn't love at first sight--but rather irritation. Just as affection begins to bloom, Tom has to return to London, and Wisley, whose financial prospects are superior, proposes. To complicate matters, Tom's uncle (Ian Richardson in his final performance) disapproves of the outspoken young lady just as much as Wisley's aunt (Maggie Smith, lendin! g the proceedings some subtle humor). Had Austen penned the script, Tom and Wisley would be combined into one person, but life doesn't work that way--and nor does Becoming Jane. Though Jarrold's effort may not be as swoon-worthy as Joe Wright's Pride and Prejudice, it remains true to the spirit of the author's work. --Kathleen C. Fennessy

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