Rabu, 30 November 2011

House, M.D.: Season Six

  • Condition: New
  • Format: DVD
  • AC-3; Box set; Color; Dolby; DVD; Subtitled; Widescreen; NTSC
Studio: Uni Dist Corp. (mca) Release Date: 08/30/2011 Rating: NrGet ready for a full dose of medical mysteries with 21 episodes of the riveting drama series, House. Hugh Laurie is joined by James Earl Jones (Star Wars), Laura Prepon (That '70s Show) and David Strathairn (The Bourne Ultimatum) in guest appearances as he returns to his Golden Globe® winning and Primetime Emmy® Award-nominated role as Dr. Gregory House. In this brilliant sixth season, House finds himself in an uncomfortable positionâ€" away from the examination room. As he works to regain his license and his life, his coworkers deal with the staff shakeups, moral dilemmas, and their own tricky relationships with House. And when House returns more obstinate than ever, Princeton-Plainsboro Teaching Hospital will never be th! e same again.The sixth season of House, M.D. starts off with a phenomenal two-part episode that sets the tone for the rest of the year. After years of abusing prescription drugs (and colleagues), Dr. Gregory House (Hugh Laurie) finds himself in a psychiatric ward as a patient who is not so patient with his own doctor. Smart and manipulative, House tries to finagle his way out of the hospital. But his selfish actions set off a chain reaction of events that manage to shake even his own confidence--temporarily, at least. This season spends a lot of time delving into House's psyche and the writers do a wonderful job depicting a brilliant, sad, and flawed man who knows more than most, but not enough to save every patient who comes to see him. That glimpse allows viewers to sympathize with his addictions but leaves them guessing as to whether the good doctor will be able to shake his dependency on drugs for good. However, viewers are never actually convinced when House qui! ts his job. In many ways, he is his job.

House has ! always t ackled fascinating cases and that continues this season, though the symptoms aren't overly dramatic by House standards. The team tries to save a man whose family history indicates that he will die of a heart attack before he turns 40. They try to help a brilliant scientist whose depression and addictions make him feel he's better suited for a simpler life as a courier. And Wilson (Robert Sean Leonard) may once again be grappling with cancer. It's a credit to this show that while it features such a strong lead character, the costars don't get shafted in the process. Wilson is one of the show's most charming characters and, by default, has become House's best friend. The two of them share a home and bicker like an old married couple. When a woman they both are attracted to mistakenly assumes that they're a complicated gay couple, we can't help but laugh. But Wilson's love life is made difficult by the return of his ex-wife and House doesn't want to see his friend hurt a! gain. He can abuse Wilson, but he doesn't want her to do the same.

House's boss Cuddy (Lisa Edelstein) has her own issues, juggling a harried personal life and the complications that come with trying to keep House in line. Chase (Jesse Spencer) falls under scrutiny this season after treating a controversial politician who he fears will murder innocent civilians. He finds himself struggling with the Hippocratic oath to treat all patients--even the ones he finds distasteful--to the best of his ability. And of the main characters on the show, one will be fired, another will profess their love for a colleague, and three of them will look for love via a speed-dating service. Yes, the story lines are all over the place, but then again, so is House. --Jae-Ha Kim

Great Directors: Volume 1 (Dersu Uzala / The Mirror / Les Bonnes Femmes / Il Grido / Circle of Deceit) (5D)

  • GREAT DIRECTORS VOL. 1 (DVD MOVIE)
Ten of the greatest filmmakers in the world passionately discuss their craft in Angela Ismailos' hugely entertaining documentary GREAT DIRECTORS. Bernardo Bertolucci, David Lynch, Todd Haynes, Richard Linklater, Stephen Frears, Agnes Varda, Ken Loach, Liliana Cavani, Todd Haynes and Catherine Breillat open up about their extraordinary careers with unexpected candor and humor. Ismailos gets them to talk about their artistic evolution from their debut works to their recent triumphs, as well as the role that politics and history play in their films. David Lynch discusses how Mel brooks netted him his job on THE ELEPHANT MAN as well as his travails with the studio on DUNE. And the all honor their influnces, from Todd haynes on Fassbinder and Breillat on Ingmar Bergman, to Lynch on Billy Wilder and Hitchcock. GREAT DIRECTORS is an illuminating and surprising cras! h course on the state of contemporary cinema, and an example for where it might be headed.

SPECIAL FEATURES: Over three hours of additional interviews with these award winning directors, promotional trailer.AKIRA KUROSAWA
ANDREI TARKOVSKY
CLAUDE CHABROL
MICHELANGELO ANTONIONI
VOLKER SCHLONDORFF

Akira Kurosawa s DERSU UZALA (1975, Color, 140 Minutes, Letterboxed) Winner of the 1975 Academy Award for Best Foreign Language Film, this Kurosawa epic is a Siberian adventure that features stunningly photographed battles of man dueling nature.

Andrei Tarkovsky s THE MIRROR (1974, Color/B&W, 106 Minutes, Full Frame) Tarkovsky s most personal (and beautiful) work, The Mirror delves into his childhood to conjure up a stream of sublime images that reflect a WWII-scarred youth and a haunted future.

Claude Chabrol s LES BONNES FEMMES (1960, B&W, 93 Minutes, Letterboxed) One of the most erotic and suspenseful treats of the French New Wave, this Chab! rol-helmed classic tracks the loves and stalkers of four prett! y shopgi rls who soon discover the dark side of passion.

Michelangelo Antonioni s IL GRIDO (1957, B&W, 115 Minutes, Full Frame) One of Antonioni s unsung masterpieces, Il Grido is a wrenchingly bittersweet tale of lost love replaced by lust, achieving a tragic poetry unequaled in the great director s illustrious career.

Volker Schlondorff s CIRCLE OF DECEIT (1981, Color, 108 Minutes, Letterboxed) This explosive tale of sex and politics in war-torn Beirut is one of the richest films in Schlöndorff s career. Setting up a minefield of ethical conundrums and personal jealousies, it s a scorching take on the modern media.

Hitch (Widescreen Edition)

  • Meet Hitch (Will Smith), New York City's greatest matchmaker. Love is his job and he'll get you the girl of your dreams in just three easy dates, guaranteed! And that's exactly what happens when Albert Brennaman (TV's Kevin James, "The King of Queens") wins the heart of gorgeous society heiress Allegra Cole (supermodel Amber Valletta). So when tabloid columnist Sara Melas (Eva Mend
ALEX 'HITCH' HITCHENS IS A TRUE URBAN MYTH - A LEGENDARY NEWYORK CITY 'DATE DOCTOR' WHO, FOR A FEE HAS HELPED HUNDREDS OF MEN WOO THE WOMEN OF THEIR DREAMS. THE ULTIMATE PROFESSIONALBACHELOR, HITCH DISCOVERS THAT ALL OF HIS TRIED & TRUE TRICKS OF THE TRADE ARE NO MATCH FOR SARA, THE ONE WOMAN HE TRULY LOVESWill Smith's easygoing charm makes Hitch the kind of pleasant, uplifting romantic comedy that you could recommend to almost anyone--especially if there's romance in the air. As suave Manhattan dating consu! ltant Alex "Hitch" Hitchens, Smith plays up the smoother, sophisticated side of his established screen persona as he mentors a pudgy accountant (Kevin James) on the lessons of love. The joke, of course, is that Hitch's own love life is a mess, and as he coaches James toward romance with a rich, powerful, and seemingly inaccessible beauty named Allegra (Amber Valetta), he's trying too hard to impress a savvy gossip columnist (Eva Mendes) with whom he's fallen in love. Through mistaken identities and mismatched couples, director Andy Tennant brings the same light touch that made Drew Barrymore's Ever After so effortlessly engaging. As romantic comedies go, Hitch doesn't offer any big surprises, but as a date movie it gets the job done with amiable ease and style. --Jeff Shannon

Billy's Hollywood Screen Kiss 15x21 Framed Art Print

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BILLY'S HOLLYWOOD SCREEN KISS - DVD MovieFirst-time director Tommy O'Haver garnered a lot of critical acclaim for this contribution to the "new queer cinema." But he seems more clued in as to its weight than the reviewers. O'Haver rightly calls Billy's Hollywood Screen Kiss a Tommy O'Haver "trifle" in the credits and he's on the money in estimating what his film is worth. For sure, the movie has much going for it; it's wholeheartedly enjoyable and packed with the usual dynamic that saturates most gay-themed films: what does one do when that object of desire is heterosexual? In this case O'Haver at least gives his protagonist, Billy, played by Sean P. Hayes, another obsession besides the Brad Pitt-lo! okalike, prophetically named Gabriel, who is enigmatically acted by Brad Rowe. This is because Billy is a photographer, as addicted to finding the perfect picture as the perfect man. His world is formed by old movies: From Here to Eternity and Imitation of Life are his criteria and the flirty foreplay by which to gauge whether or not a love will have stamina and staying power. Of course, Billy is bound to be disappointed by gay-friendly Gabriel, who is struggling in his own way as much as Billy. Full of the usual mix of second-string players who inhabit the gay milieu (e.g., the best female friend who has man trouble of her own, and the older, secure pal who has secretly held Billy in his sights for some time), O'Haver's film breaks the mold by keeping to a dark note. It resembles a Pedro Almodovar spectacle initially with its saturated look and primary-color palette. But three-fourths through, Billy and his gang walk into the contemporary gay equivalent of a ! Gidget movie. The shift is surprising and even sometime! s funny. Billy's Hollywood Screen Kiss has a lot going for it, but it's still just a trifle, and not a milestone in the genre. --Paula NechakFirst-time director Tommy O'Haver garnered a lot of critical acclaim for this contribution to the "new queer cinema." But he seems more clued in as to its weight than the reviewers. O'Haver rightly calls Billy's Hollywood Screen Kiss a Tommy O'Haver "trifle" in the credits and he's on the money in estimating what his film is worth. For sure, the movie has much going for it; it's wholeheartedly enjoyable and packed with the usual dynamic that saturates most gay-themed films: what does one do when that object of desire is heterosexual? In this case O'Haver at least gives his protagonist, Billy, played by Sean P. Hayes, another obsession besides the Brad Pitt-lookalike, prophetically named Gabriel, who is enigmatically acted by Brad Rowe. This is because Billy is a photographer, as addicted to finding the perfect picture as th! e perfect man. His world is formed by old movies: From Here to Eternity and Imitation of Life are his criteria and the flirty foreplay by which to gauge whether or not a love will have stamina and staying power. Of course, Billy is bound to be disappointed by gay-friendly Gabriel, who is struggling in his own way as much as Billy. Full of the usual mix of second-string players who inhabit the gay milieu (e.g., the best female friend who has man trouble of her own, and the older, secure pal who has secretly held Billy in his sights for some time), O'Haver's film breaks the mold by keeping to a dark note. It resembles a Pedro Almodovar spectacle initially with its saturated look and primary-color palette. But three-fourths through, Billy and his gang walk into the contemporary gay equivalent of a Gidget movie. The shift is surprising and even sometimes funny. Billy's Hollywood Screen Kiss has a lot going for it, but it's still just a trifle, and n! ot a milestone in the genre. --Paula NechakMuseum Quali! ty Frame d Art PicturesFirst-time director Tommy O'Haver garnered a lot of critical acclaim for this contribution to the "new queer cinema." But he seems more clued in as to its weight than the reviewers. O'Haver rightly calls Billy's Hollywood Screen Kiss a Tommy O'Haver "trifle" in the credits and he's on the money in estimating what his film is worth. For sure, the movie has much going for it; it's wholeheartedly enjoyable and packed with the usual dynamic that saturates most gay-themed films: what does one do when that object of desire is heterosexual? In this case O'Haver at least gives his protagonist, Billy, played by Sean P. Hayes, another obsession besides the Brad Pitt-lookalike, prophetically named Gabriel, who is enigmatically acted by Brad Rowe. This is because Billy is a photographer, as addicted to finding the perfect picture as the perfect man. His world is formed by old movies: From Here to Eternity and Imitation of Life are his criteria and the! flirty foreplay by which to gauge whether or not a love will have stamina and staying power. Of course, Billy is bound to be disappointed by gay-friendly Gabriel, who is struggling in his own way as much as Billy. Full of the usual mix of second-string players who inhabit the gay milieu (e.g., the best female friend who has man trouble of her own, and the older, secure pal who has secretly held Billy in his sights for some time), O'Haver's film breaks the mold by keeping to a dark note. It resembles a Pedro Almodovar spectacle initially with its saturated look and primary-color palette. But three-fourths through, Billy and his gang walk into the contemporary gay equivalent of a Gidget movie. The shift is surprising and even sometimes funny. Billy's Hollywood Screen Kiss has a lot going for it, but it's still just a trifle, and not a milestone in the genre. --Paula Nechak

The Haunting of Hill House (Penguin Classics)

  • ISBN13: 9780143039983
  • Condition: New
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Pragmatic Charlie Ravynne never imagined she would find herself falling in love with a house of all things, let alone the deserted, dilapidated Victorian mansion she found on the Internet. Her sister, Meg, on the other hand, was not nearly as enamored. In fact, she seriously doubted her sister's sanity, when she suggested they enter the contest that offered Hensley Hall as the prize.
But Meg's curiosity was piqued when she learned the previous owners had died in the old mansion. As a self- styled "ghost magnet" whose interest in the paranormal dated back to her childhood, she became more and more intrigued with the notion that HensleyHall was haunted. If they won the contest, she could have her ! very own ghosts! Though, admittedly, she wasn't all that sure what she'd do with them!
Soon the contest had hooked them both, though neither really believed they had any chance of winning. They had never won anything in their entire lives (except in grade school when they'd won first prize for the most unusual Halloween costume due to a freak accident neither ever wanted to mention again!)and so, they were both amazed when a registered letter brought the good news. They were now the new owners of Hensley Hall and its occupants.
Arriving at their new home, they were horrified by the monstrous mansion that seemed to be waiting for them with malevolent intent. Imprinted by old tragedies…hates…forbidden loves, and a bloated evil that fed on fear, the derelict mansion they had hoped would be their dream house some day, quickly, turned into their worst nightmare as, bit by bit, they uncovered the dark history surrounding its past.
Almost forty years ago, thr! ee schoolgirls had been brutally raped then murdered by the St! oneman, whose signature was a black river rock sealed in the mouth of each victim. Then seventeen year old, Breanna Hensley, vanished and was never seen again, except when night falls and her restless spirit roamed the halls searching for? Is it Devon, her twin brother, and the 'person of interest' the police were about to arrest when he fled the scene and died in a train wreck?
As Meg and Charlie Ravynne struggle to solve the mystery surrounding Breanna's disappearance and find peace for her restless spirit, they begin to believe that Devon is not the one buried in the family mausoleum…that the murderer and rapist the police were looking for is very much alive and somewhere close. Perhaps way too close!
Could he be the darkly, beguiling, Zack Mallory, the mysterious boarder who rents the tower room? Or is he, Adrian Adams, their youngest sister, Rayne's, new love interest? There are more than skeletons rattling around in the cupboards at Hensley Hall…far more…in t! his paranormal thriller laced with romance.
Pragmatic Charlie Ravynne never imagined she would find herself falling in love with a house of all things, let alone the deserted, dilapidated Victorian mansion she found on the Internet. Her sister, Meg, on the other hand, was not nearly as enamored. In fact, she seriously doubted her sister's sanity, when she suggested they enter the contest that offered Hensley Hall as the prize.
But Meg's curiosity was piqued when she learned the previous owners had died in the old mansion. As a self- styled "ghost magnet" whose interest in the paranormal dated back to her childhood, she became more and more intrigued with the notion that HensleyHall was haunted. If they won the contest, she could have her very own ghosts! Though, admittedly, she wasn't all that sure what she'd do with them!
Soon the contest had hooked them both, though neither really believed they had any chance of winning. They had never won anything in their ! entire lives (except in grade school when they'd won first pri! ze for t he most unusual Halloween costume due to a freak accident neither ever wanted to mention again!)and so, they were both amazed when a registered letter brought the good news. They were now the new owners of Hensley Hall and its occupants.
Arriving at their new home, they were horrified by the monstrous mansion that seemed to be waiting for them with malevolent intent. Imprinted by old tragedies…hates…forbidden loves, and a bloated evil that fed on fear, the derelict mansion they had hoped would be their dream house some day, quickly, turned into their worst nightmare as, bit by bit, they uncovered the dark history surrounding its past.
Almost forty years ago, three schoolgirls had been brutally raped then murdered by the Stoneman, whose signature was a black river rock sealed in the mouth of each victim. Then seventeen year old, Breanna Hensley, vanished and was never seen again, except when night falls and her restless spirit roamed the halls searching for? Is it! Devon, her twin brother, and the 'person of interest' the police were about to arrest when he fled the scene and died in a train wreck?
As Meg and Charlie Ravynne struggle to solve the mystery surrounding Breanna's disappearance and find peace for her restless spirit, they begin to believe that Devon is not the one buried in the family mausoleum…that the murderer and rapist the police were looking for is very much alive and somewhere close. Perhaps way too close!
Could he be the darkly, beguiling, Zack Mallory, the mysterious boarder who rents the tower room? Or is he, Adrian Adams, their youngest sister, Rayne's, new love interest? There are more than skeletons rattling around in the cupboards at Hensley Hall…far more…in this paranormal thriller laced with romance.
There is nothing more frightening in the world of horror, than a story that is actually true. When Peter takes his new wife Stacy, up to the mountains for a weekend of fishing, hiking and hopef! ully some intense cuddling, their day starts off great, when t! hey thin k they find the perfect spot. The seclusion of the little lake seems at first to be a plus, but they soon realize, that there is a reason the area around the black waters and the looming hills is empty. "Don't let the night catch me here!" These are the words that run through their minds as the day folds in on itself with terrifying speed, releasing something blacker than the night.
This book contains three stories, all of which are paranormal in nature. The first two are works of non-fiction, true to life ghost stories, if you can believe it, but the third is completely fictional.
There is nothing more frightening in the world of horror, than a story that is actually true. When Peter takes his new wife Stacy, up to the mountains for a weekend of fishing, hiking and hopefully some intense cuddling, their day starts off great, when they think they find the perfect spot. The seclusion of the little lake seems at first to be a plus, but they soon realize, that there i! s a reason the area around the black waters and the looming hills is empty. "Don't let the night catch me here!" These are the words that run through their minds as the day folds in on itself with terrifying speed, releasing something blacker than the night.
This book contains three stories, all of which are paranormal in nature. The first two are works of non-fiction, true to life ghost stories, if you can believe it, but the third is completely fictional.
A REAL GHOST STORY! THIS WILL HAUNT YOU!
This is the story of a true haunting. It was the first ever filmed and televised by NBC in 1971. A young couple purchases a building that was built and occupied by a single family that refused to relinquish their hold, even after death. Investigated and verified by experts, this residence brought chaos to the lives of those who chose to reside there. Unlike a horror novel, this chronicles what a real ghostly experience would resemble. Long before the laws of disclo! sure, a young couple winds up in the midst of strange occurren! ces prio r to the term 'paranormal' becoming a common description. Searching for help at time when supernatural events were a taboo subject and being ignored by the Church, sent them into a desperate search for any assistance. Only a little known organization came to their aid. Author Tom Valentine, brought in a nationally known psychic, Joseph DeLouise, who then asked assistance of an exorcist from England, Reverend William Derl-Davis. Together, they gave their best effort at exorcising the multiple spirits inhabiting the building and disrupting the lives of the living. Events were filmed by NBC, who sent their most prominent Chicago journalist, Carole Simpson, to cover the event. Follow a young couple with a newborn as they attempt to cope with inexplicable events, experience denial, plead for help from their Church, and step into the world of the paranormal. Understand why ghosts cannot be exorcised and a true example of their strong sense of domain, even after death. Learn what e! xperts and gifted people did in a failed attempt to assist this desperate couple. There is no happy ending, as the young couple suffers emotionally, are physically threatened, have their pets terrorized, and eventually suffer financially by actually "giving" their building away. What was intended as a financial answer to their prayers became, instead, a curse to be abolished. Learn many of the various manifestations that can be common in haunting. Ghosts can be seen and heard. They can propel objects and interrupt utilities. They can affect your moods and feed off of your emotions. They can appear as solid as you and me. They can react and become hostile if threatened or violated. Most important, as this young couple learned, they can harm you and cannot be removed. This is a firsthand accounting of what a true haunting is like. There are certain subtle occurrences you may find the most frightening, because you just might relate and recognize them. If so, guess what? You ma! y have a ghost!The classic supernatural thriller by an auth! or who h elped define the genre

First published in 1959, Shirley Jackson's The Haunting of Hill House has been hailed as a perfect work of unnerving terror. It is the story of four seekers who arrive at a notoriously unfriendly pile called Hill House: Dr. Montague, an occult scholar looking for solid evidence of a "haunting"; Theodora, his lighthearted assistant; Eleanor, a friendless, fragile young woman well acquainted with poltergeists; and Luke, the future heir of Hill House. At first, their stay seems destined to be merely a spooky encounter with inexplicable phenomena. But Hill House is gathering its powers-and soon it will choose one of them to make its own.Shirley Jackson's The Haunting of Hill House has unnerved readers since its original publication in 1959. A tale of subtle, psychological terror, it has earned its place as one of the significant haunted house stories of the ages.

Eleanor Vance has always been a loner--shy, vulnerable, and! bitterly resentful of the 11 years she lost while nursing her dying mother. "She had spent so long alone, with no one to love, that it was difficult for her to talk, even casually, to another person without self-consciousness and an awkward inability to find words." Eleanor has always sensed that one day something big would happen, and one day it does. She receives an unusual invitation from Dr. John Montague, a man fascinated by "supernatural manifestations." He organizes a ghost watch, inviting people who have been touched by otherworldly events. A paranormal incident from Eleanor's childhood qualifies her to be a part of Montague's bizarre study--along with headstrong Theodora, his assistant, and Luke, a well-to-do aristocrat. They meet at Hill House--a notorious estate in New England.

Hill House is a foreboding structure of towers, buttresses, Gothic spires, gargoyles, strange angles, and rooms within rooms--a place "without kindness, never me! ant to be lived in...."

Although Eleanor's initial reactio! n is to flee, the house has a mesmerizing effect, and she begins to feel a strange kind of bliss that entices her to stay. Eleanor is a magnet for the supernatural--she hears deathly wails, feels terrible chills, and sees ghostly apparitions. Once again she feels isolated and alone--neither Theo nor Luke attract so much eerie company. But the physical horror of Hill House is always subtle; more disturbing is the emotional torment Eleanor endures. Intense, literary, and harrowing, The Haunting of Hill House belongs in the same dark league as Henry James's classic ghost story, The Turn of the Screw. --Naomi Gesinger

Victorinox Men's Softshell Glove, Black/Asphalt Grey, X-Large

Death at a Funeral

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  • Format: DVD
  • AC-3; Closed-captioned; Color; Dolby; Dubbed; DVD; Subtitled; Widescreen; NTSC
From acclaimed director Frank Oz (In & Out, Dirty Rotten Scoundrels) comes "a fast, furious and riotously funny farce" (Maxim) that'll have you dying with laughter!

As the mourners and guests at a British country manor struggle valiantly to "keep a stiff upper lip," a dignified ceremony devolves into a hilarious, no-holds-barred debacle of misplaced cadavers, indecent exposure, and shocking family secrets. Packed with extras including audio commentaries and an uproarious gag reel, Death at a Funeral blows the lid off the proverbial coffin as "the film's delicious comic flourishes... sight gags, slapstick, flawless timing... are served up by an outstanding cast" (O, The Oprah Magazine).Though it doesn't hit the same comic heights as Bowfinger, Death at a Funer! al is a fun little romp. Granted, not all of the characters are meant to be humorous, like Daniel (Matthew Macfadyen, Pride & Prejudice) and his wife, Jane (Keeley Hawes, Tristram Shandy), straight-faced foils for the more over-the-top performers. After Daniel's father passes away, the couple offers to host the funeral, so all his relatives descend on the family abode, including Daniel's estranged brother, Robert (Rupert Graves, V for Vendetta). The mood is already tense when their cousin, Martha (Daisy Donovan), arrives with her nervous fiancé, Simon (Alan Tudyk, Serenity). On the way over, Simon takes a Valium that's actually a hallucinogenic concoction cooked up by Martha's pharmacology student brother. By the time they arrive, Simon's inhibitions are gone with the wind. Other guests include Uncle Alfie (Peter Vaughn) and an uninvited American mourner (Peter Dinklage). By the end of the movie, one of these individuals will be dead. Though! he's worked in the States for several decades, director Frank! Oz was born in the UK, and Death at a Funeral feels like the work of a British filmmaker. As drawing room comedies go, it may not rival Arsenic and Old Lace, but it's still funnier than most. If the film has a flaw, it's one misjudged moment of scatological humor, which is sure to induce more cringes than giggles. Fortunately, it's over quickly, and Tudyk's hilarious performance provides ample compensation. --Kathleen C. Fennessy

Beyond Death at a Funeral


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A funeral ceremony turns into a debacle of exposed family secrets and misplaced bodies. Studio: Sony Pic! tures Home Ent Release Date: 08/10/2010 Starring: Keith Davi! d Run t ime: 92 minutes Rating: R Director: Neil LabriteLess than three years after the 2007 Brit-com Death at a Funeral hit theaters, this remake offered a nearly scene-for-scene variation on the original. Once again a family has gathered for the dignified memorial service for a patriarch: older son (Chris Rock) has prepared a eulogy; younger son (Martin Lawrence) has flown in on his celebrity as a bestselling author; favorite niece (Zoe Saldana) has brought her fiancé (James Marsden, flipping out), unaware that he has accidentally ingested a hallucinogen manufactured by her pharmaceutically minded brother (Columbus Short, from Cadillac Records). You know, the usual fare for a funeral. The wild card is a stranger (Peter Dinklage, the only member of the cast to repeat his role from the 2007 film) who has something urgent to impart to the two sons. There's nothing terribly elevated about the slapstick, and one particular scatological sequence tests the boundaries of ! the bearable (30 Rock's Tracy Morgan, in his usual unbounded form, takes the brunt of this scene). The unexpected director is Neil LaBute, who shows off his sense of comic timing and keeps the whole apparatus moving along briskly. In addition to the relatively subdued lead turns by Rock and Lawrence, the big cast includes Danny Glover, Regina Hall, Luke Wilson, and Loretta Devine. It is almost irrelevant to debate whether this version improves or deflates the original; both hit their marks, deliver the broad yuks, and leave behind a mostly mechanical feel. But the job is accomplished--now rest in peace. --Robert Horton

Bait Shop

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Genre: Comedy
Rating: PG13
Release Date: 11-NOV-2008
Media Type: DVDIn 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 hometown 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," sh! e tells him. "Don't speak to my parents. Don't speak to Angela! . And do n't speak to me." Rules, of course, are meant to be broken, especially in feel-good movies such as this. --Jae-Ha KimThis is the soundtrack for Toby Keith's new motion picture, Beer For My Horses. It will feature music from Toby Keith, Willie Nelson, Trailer Choir, Ted Nugent, Gina Gershon, James McMurtry, Mac Davis, Mel Tillis, Carter's Chord, Rodney Carrington, David Allan Coe and Mica Roberts.Studio: Lions Gate Home Ent. Release Date: 09/02/2008 Run time: 85 minutes Rating: PgBait Shop stars the eternally affable yet exasperated comedian Bill Engvall as Bill Dugan, owner of a homey but smalltime bait shop. Bill's job and self-respect are threatened when arrogant fishing celebrity Hot Rod Johnson (Billy Ray Cyrus, better known as Miley's dad) opens a massive fishing superstore right next door. Only by challenging Hot Rod in a bass fishing tournament can Bill set things right! Bait Shop is a bundle of clumsy cliches made somewhat tolerable by a likab! le cast (including outlaw country music singer Billy Joe Shaver as Bill's mentor) and an enthusiastic performance by Cyrus, who clearly enjoys being the bad guy for once. High points include Bill having a bar fight while dressed in a fish costume and Bill wrestling an obviously rubber bass into his boat. There are many declarations about how fishing used to be more pure and how friendship is the most important thing in life. Extras include a standard-issue making-of documentary, some beautiful shots of the local landscape (which, inexplicably, never got used in the movie itself), some understandably deleted scenes and some scenes of the cast goofing around. All in all, not much effort was put into making either the movie or the DVD. --Bret Fetzer
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