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The first snow has fallen.
The mice children go sledding
with Grandma and Grandpa.
But at the top of the hill,
who will go first?
Bitty, the smallest mouse,
is scared.
When she tries,
WHEEEEEE,
she finds that sledding is the best!
Caldecott Medalist Emily Arnold McCully captured the chills and thrills of a first sled ride when first snow was published in 1985. She has added words and created new pictures for this handsome larger edition, a companion to picnic.
Guy Pearce (Memento, L.A. Confidential), Piper Perabo (Coyote Ugly) and JK Simmons (Thank You For Smoking, Spiderman 1-3) star in ! this intriguing thriller about a man whose life spins out of control after psychic tells him his days are numbered. After his car breaks down in a desolate town, a slick salesman, Jimmy Starks (Pearce), visits a fortune teller (Simmons) to kill some time. But the psychicâs ominous reading sends Jimmyâs life into a tailspin when he learns that his life will soon end, but he is safe at least, until the first snow of the season. Now, with his ultimate fate looming nearer, Jimmy becomes obsessed with revisiting his past in hopes of changing his destiny before itâs too late. With a thriller as low-key as First Snow, dynamic acting is a must. Fortunately, Guy Pearce (Memento) owns the screen as slick salesman Jimmy Starks. In his first film, Oscar-nominated writer Mark Fergus (Children of Men) forgoes visual effects in favor of an increasingly complex narrative. As in many Stephen King novels, the story centers on the collision between a man of reason a! nd a man of faith--in the supernatural, that is. The foreshado! wing beg ins when Starks visits fortune teller Vacaro (J.K. Simmons, Spider-Man). Starks assumes he's a fellow hustler. Then his every prediction comes true. On a return trip, Vacaro tells him he'll be dead by first snow, but can't say how or when. Should Starks put his affairs in order, enjoy his time with girlfriend Deirdre (Piper Perabo), or just do nothing? Then again, snow seems unlikely for Albuquerque. Over the next few days, several possible culprits come to light, like Andy (Rick Gonzalez), an assistant Starks fired, and Vince (Shea Wigham), a partner he sold down the river. Convinced one of them is going to seek revenge, Starks becomes so paranoid he opens the door to disaster. Fergus excels in keeping the tension at a low boil, but he undersells the climax. Still, it's a nice change from all the mysteries that build in intensity before collapsing in a heap of improbabilities. First Snow is rooted in the real world from the first frame to the last. --Kathle! en C. Fennessy
The '25, '61, '78, '79, and '92 national championships, the first game under Coach Paul! "Bear" Bryant, the Alabama-Tennessee rivalry, the Alabama-Auburn rivalry, and twelve more power-packed memorable moments make up the legend of Alabama Football. Eli Gold brings these memories to life with the same clarity and fervor that fans have come to love as they listen to football on the radio.
Featured are legendary Alabama players and coaches including Joe Namath, Johnny Musso, Kenny Stabler, Gene Stallings, Harry Gilmer, Don Hutson, and other names that are still part of everyday conversation in Alabama, regardless of when they attended the university. So much of what was great at Alabama is because of the leadership and influence of Bear Bryant, and his story is told as well as his part in the story of every one of these important moments.
Set roughly in chronological order with photographs throughout, Crimson Nation is a journey back through time that every true Alabama fan must own.
The '25, '61, '78, '79, and '92 national championships! , the first game under Coach Paul "Bear" Bryant, the Alabama-T! ennessee rivalry, the Alabama-Auburn rivalry, and twelve more power-packed memorable moments make up the legend of Alabama Football. Eli Gold brings these memories to life with the same clarity and fervor that fans have come to love as they listen to football on the radio.
Featured are legendary Alabama players and coaches including Joe Namath, Johnny Musso, Kenny Stabler, Gene Stallings, Harry Gilmer, Don Hutson, and other names that are still part of everyday conversation in Alabama, regardless of when they attended the university. So much of what was great at Alabama is because of the leadership and influence of Bear Bryant, and his story is told as well as his part in the story of every one of these important moments.
Set roughly in chronological order with photographs throughout, Crimson Nation is a journey back through time that every true Alabama fan must own.
Award-winning filmmaker Jafar Panahi's (The White Balloon, The Circle) latest triumph is an int! imate and absorbing drama about the ways in which the hypocrisies and slights of daily life can push otherwise reasonable people over the edge. Based on true events and written by acclaimed director Abbas Kiarostami (A Taste of Cherry), CRIMSON GOLD is the story of Hussein, a humble pizza deliveryman who feels continually humiliated by the injustices he sees all around him. When his friend Ali finds a receipt for a stranger's necklace purchase, Hussein is stunned by its exceptionally high cost. He knows that his pitiful salary will never be enough to afford such a luxury. Soon after, he and Ali are refused entry to an uptown jewelry store because of their scruffy appearances; his rage over this slight sets off a series of events. But Hussein will taste the luxurious life for one night before his deep feelings of humiliation push him over the edge.Two master filmmakers, Abba Kiarostami (A Taste of Cherry) and Jafar Panahi (The Circle), team up as writer and di! rector, respectively (as they did on 1996's The White Ballo! on), on Crimson Gold, a subtle tragedy about class conflict in Iran. Hussein (Hossain Emadeddin) is a lumbering veteran swollen by cortisone (for war-induced pain) and reduced to delivering pizzas at night. (He is frequently lost in a mental semi-fog during the days.) Witness to the rewards and vanities of the wealthy, insulted when a jewelry shop owner won't allow him in his store, and under pressure to get married, Hussein awkwardly aspires for higher ground but is more familiar with a life of marginal importance. When an eccentric socialite gives him a taste of luxury, something desperate is unleashed. Panahi brings his feel for and vision of the expansive ordinary, for the near-invisible forces churning within characters in seemingly throwaway circumstances. A haunting film. --Tom Keogh