American Racing Vintage T70R (Series VNT70R) Gun Metal With Machined Lip - 15 X 7 Inch Wheel

• Gun metal gray finish with machined lip
• Five spoke design
• Two-piece aluminum with center cap Included
• One year finish warranty
• Lifetime structural warranty

With its hot rod styling, the American Racing Vintage series VNT70R series wheel has that classic look and is solid to the core. This wheel offers a gun metal gray finish with machined lip. Two-piece painted aluminum with center cap and a one year finish and a lifetime structural warranty. In the late '50s, the original five-spoke American Racing Torq Thrust ® wheel was introduced. It is considered by many to be the most famous drag and hot rod wheel of all time. Now, more than 50 years later, American Racing continues its tradition of excellence in period correct and custom wheels for hot rods, muscle cars and restoration applications.

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POGO Hearts, Spades and More!

• 5 Card Games for Kindle

From the author of Pitching Around Fidel and Far Afield comes a tragicâ€"but ultimately upliftingâ€"account of the accidental death of minor league first base coach Mike Coolbaugh, illustrating the many ways in which baseball still has a hold on America.

This season's Friday Night Lights, Heart of the Game centers on the death of Mike Coolbaugh, a minor league coach who was killed in July 2007 by a foul ball rocketed off Tino Sanchez's bat. Coolbaugh died almost instantly, his body carted off the field of the Double-A Arkansas Travelers on a suffocating Sunday evening in Little Rock. He was thirty-five years old and the father of two, with a third child on the way.

Mike's exemplary lifeâ€"his devotion to game and familyâ€"is the spine of the story. But it isn't the drama. The drama is in the t! elling of what can happen when a projectile hits the wrong place on the human body, of the lives being lived up until that fatal moment, of the remarkable people who happened to be in the ballpark that night, of the impact on the man who hit the ball, and of all the lives left behind.

Price reveals anew that classic heart of Americanaâ€"small-town sports, small-town livesâ€"and makes us understand that a game played away from the mindless churn of Internet blather and highlight shows can be more important than those played on the national stage.

Play 5 popular card games: Hearts, Spades, Euchre, Gin and Canasta.

In Hearts, the goal is to win as few points-paying hearts as possible or to win all the points-paying cards at once. The winner is the one who finishes with the game with the fewest points. In Spades, the goal is to bid and win a specific number of hands, by playing the highest card by round or by playing the highest spade. The team that bids! and wins the most hands, wins the game. In Euchre, the goal i! s for yo u and your partner to get as many tricks per round as possible. You get tricks by having the highest trump card or highest suited card if no trump card is played. The team that scores 10 points first wins. The goal of Gin is to make sets of cards, based on runs in suit or matching rank. The player who can make the most matches earliest typically wins. In Canasta, you make sets of up to seven cards. The player who first makes sets of all his cards will make the most points typically wins.

Learn and master each game through in-depth tutorials with rules and tips on how to improve your play and track your stats across all 5 games.

What game are you going to play first

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Photographic Prints of Aryan Types/couple from Mary Evans

• This 10x8 Print features an image chosen by Mary Evans. Estimated image size 254x203mm.
• High quality RA4 prints. Printed on Kodak Endura and Edge papers
• Image Description: The Aryan race nobility of blood, incomparable beauty of form and mind, and a superior breed. An ideal Aryan couple.
• For any queries regarding this item please contact Mary Evans c/o Media Storehouse quoting Media Reference 4323268
• © Mary Evans Picture Library/weimar Archive

From the producer of the Oscar Award Winning films Platoon and The Last Emperor comes John Daly's THE COUPLE. Based on the true story of a Jewish Hungarian's desperate attempts to save his family from the Nazi death camps. Mr. Krauzenberg (Martin Landau) is forced to hand over his vast wealth to the Nazis for the safe passage of his family out of occupied Europe, only to find his two remaining servants are left trapped! in a web of deceit and danger. Their only hope for survival relies on the courage of Krauzenberg.10x8 Print, ARYAN TYPES/COUPLE. The Aryan race nobility of blood, incomparable beauty of form and mind, and a superior breed. An ideal Aryan couple. . Chosen by Mary Evans. High quality RA4 prints. Printed on Kodak Endura and Edge papers.

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BIG MOMMA'S HOUSE 2 ORIGINAL MOVIE POSTER

• 27X41
• DESCRIPTION:  Authentic original (or specified high quality reproduction) one-sheet movie poster.
• SIZE: Approx 27x40 inches unless otherwise stated.

Nonstop laughs are back in the house with this super-sized sequel that's wilder, funnier, and filled with even more outrageous new adventures! Martin Lawrence and Nia Long return in a heavyweight hit comedy that's loads of fun for the whole family!

In the interest of national security, FBI agent Malcolm Turner (Lawrence) goes back undercover as Big Momma?a slick-talking, slam-dunking Southern granny with attitude to spare! Now this granny must play nanny to three demanding kids to complete his most outrageous assignment ever!Funnyman Martin Lawrence steps back into the latex fatsuit for Big Momma's House 2, the sequel to one of Lawrence's biggest hits. Malcolm Turner (Lawrence, Bad Boys, Rebound) go! es undercover, turning his Big Momma disguise into a nanny for a computer company executive who may be concocting a means to hack into military databases. But that's just a pretense to get Big Momma coping with a perfectionist mom and her three kids, who are all dysfunctional in cute and easily resolved ways. Naturally, Big Momma dispenses life lessons and catches the crooks while Lawrence does his best to milk his fat drag act for cheap laughs. Unfortunately, those cheap laughs never quite pay off; the script is a wastebasket of cliches and clumsy set-ups for gags that never seem worth the effort. The movie desperately wants to appeal to women with cute kids while luring men with a spa visit featuring scantily clad Victoria's Secret models. Even Lawrence's fans will find themselves snoozing through this one. --Bret FetzerFBI AGENT MALCOLM TURNER AND HIS STEPSON TRENT GO UNDERCOVER AT AN ALL-GIRLS PERFORMING ARTS SCHOOL AFTER TRENT WITNESSES A MURDER.Martin Lawrence ! returns as Master of Disguise--well, just one disguise, honest! ly, but he's really, really good at it--FBI agent Malcolm Turner in the second sequel to 2000's blockbuster Big Momma's House. Here, the agent must throw on the padding to pose as the housemother at an exclusive Female School of the Arts, in an attempt to ferret out a murderous Russian Mobster. The twist? This time he's forced to bring his stepson (Tropic Thunder's Brandon T. Jackson) along with him. The presence of Jackson makes this genially mellow sequel feel like a low-impact passing of the torch, with Lawrence (who also executive produced) seemingly content to let his younger costar handle most of the cross-dressing comedic heavy lifting (ballet lessons, slumber parties, etc.). Only a scene where Big Momma faces off in a game of Twister against an equally gargantuan security guard (an uncredited and very funny Faizon Love) really feels of a piece with the earlier films. Stranger still is the inclusion of a half-dozen musical numbers, including one in a lunchroom t! hat blossoms into full-out High School Musical territory. Awkward as these song-and-dance interludes often are, the filmmakers should deserve some credit for attempting to inject some form of new energy into a scenario that could definitely use a boost. Longtime fans of the franchise and Lawrence, however, may wonder if someone at Fox accidentally let Glee into the telepod. --Andrew WrightDisguise is the limit. "Martin Lawrence brings down the house" (E! Online) as crafty FBI agent Malcolm Turner who's willing to go through thick and thin in order to catch an escaped prisoner. "Nia Long is captivating" (Checkout.com) as Sherry, the con's sexy former flame - she might have the skinny on millions in stolen loot, and she's headed for Georgia to lay low for a while. That's enough to send Malcolm deep undercover as Big Momma, an oversized, overbearing Southern granny with an attitude as tough as her pork chops. The result is an outrageous comedy of epic! proportions, filled with nonstop laughs and plenty of action!! No one t ries very hard in Big Momma's House, so your enjoyment of this Martin Lawrence vehicle pretty much depends on how much amusement you're able to derive from a guy dressed up as a very ample woman. The setup is of the eye-rolling, only-in-Hollywood nature: Lawrence, as detective Malcolm Turner, is after a killer, and apparently the only way to capture him is to pose as the bad guy's ex-girlfriend's grandmother, who--the film cannot stress this point too much--is quite large.

Apparently, Sherry (Nia Long), the young woman in question--she's as attractive as Big Momma is, well, you know--is none too bright, for she falls for Malcolm's ruse, which of course ostensibly amuses mainly because it's so transparent. She at least has an excuse--she hasn't seen Big Momma in two years--but Big Momma's oblivious friends must be functional morons. Screenwriters Darryl Quarles and Don Rhymer didn't tax themselves very much, as they have Malcolm-as-Big-Momma going throu! gh fairly predictable motions--botching a meal and delivering a baby unconventionally (Big Momma's a midwife), but ruling at basketball and self- defense and protecting Sherry while trying vainly not to flirt with her. Paul Giamatti is wasted as Malcolm's partner; director Raja Gosnell's clunky sense of comic rhythm is bewildering, because he used to be an editor (he brought a similar lack of magic to Home Alone 3).

Lawrence won't have anyone forgetting Tony Curtis and Jack Lemmon in Some Like It Hot, Dustin Hoffman in Tootsie, or Robin Williams in Mrs. Doubtfire anytime soon. Big Momma's House benefits mainly by being first to the marketplace ahead of Eddie Murphy's The Nutty Professor 2: The Klumps; Murphy's work in prosthetics is far more accomplished, versatile, and funny. --David KronkeNo one tries very hard in Big Momma's House, so your enjoyment of this Martin Lawrence vehicle pretty much depends! on how much amusement you're able to derive from a guy dress! ed up as a very ample woman. The setup is of the eye-rolling, only-in-Hollywood nature: Lawrence, as detective Malcolm Turner, is after a killer, and apparently the only way to capture him is to pose as the bad guy's ex-girlfriend's grandmother, who--the film cannot stress this point too much--is quite large.

Apparently, Sherry (Nia Long), the young woman in question--she's as attractive as Big Momma is, well, you know--is none too bright, for she falls for Malcolm's ruse, which of course ostensibly amuses mainly because it's so transparent. She at least has an excuse--she hasn't seen Big Momma in two years--but Big Momma's oblivious friends must be functional morons. Screenwriters Darryl Quarles and Don Rhymer didn't tax themselves very much, as they have Malcolm-as-Big-Momma going through fairly predictable motions--botching a meal and delivering a baby unconventionally (Big Momma's a midwife), but ruling at basketball and self- defense and protecting Sherry while t! rying vainly not to flirt with her. Paul Giamatti is wasted as Malcolm's partner; director Raja Gosnell's clunky sense of comic rhythm is bewildering, because he used to be an editor (he brought a similar lack of magic to Home Alone 3).

Lawrence won't have anyone forgetting Tony Curtis and Jack Lemmon in Some Like It Hot, Dustin Hoffman in Tootsie, or Robin Williams in Mrs. Doubtfire anytime soon. Big Momma's House benefits mainly by being first to the marketplace ahead of Eddie Murphy's The Nutty Professor 2: The Klumps; Murphy's work in prosthetics is far more accomplished, versatile, and funny. --David KronkeBig Momma's House 2
Disguise is the limit. "Martin Lawrence brings down the house" (E! Online) as crafty FBI agent Malcolm Turner who's willing to go through thick and thin in order to catch an escaped prisoner. "Nia Long is captivating" (Checkout.com) as Sherry, the con's sexy former f! lame - she might have the skinny on millions in stolen loot, a! nd she's headed for Georgia to lay low for a while. That's enough to send Malcolm deep undercover as Big Momma, an oversized, overbearing Southern granny with an attitude as tough as her pork chops. The result is an outrageous comedy of epic proportions, filled with nonstop laughs and plenty of action!

Big Momma's House 2
Nonstop laughs are back in the house with this super-sized sequel that's wilder, funnier, and filled with even more outrageous new adventures! Martin Lawrence and Nia Long return in a heavyweight hit comedy that's loads of fun for the whole family! In the interest of national security, FBI agent Malcolm Turner (Lawrence) goes back undercover as Big Momma?a slick-talking, slam-dunking Southern granny with attitude to spare! Now this granny must play nanny to three demanding kids to complete his most outrageous assignment ever! PRODUCT DESCRIPTION: At Moviestore we have an unbeatable range of both original and classic high quality reproducti! on movie posters. Movie poster art is a wonderful collectible item and great for home or office decor. We have been in business for 16 years so you can buy with confidence. Our guarantee - if you are not fully satisfied with your purchase from Moviestore we will gladly refund your money.

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Skechers for Work Men's Harvard Oxford,Black,9.5 M

• Men's Skechers, Scholars Slip resist
• Work smarter in the SKECHERS Work Scholars-Harvard oxford.
• Polished leather upper in a uniform-ready casual oxford with lace up front
• Padded collar, cushioned insole.
• Mark II ASTM F1677 rated slip resistant outsole.

This innovative drama from writer and director James Toback (BUGSY, BLACK AND WHITE) follows the travails of Alan Jensen (Adrian Grenier), a Harvard student determined to live life to the fullest and find the ultimate truth. He gets high regularly, and is sleeping with Holy Cross cheerleader Cindy Bandolini (Sarah Michelle Gellar), who also happens to be a mobster's daughter. Simultaneously, Alan is carrying on an illicit affair with his philosophy professor, Chesney Cort (Joey Lauren Adams), a woman with a vast sexual appetite. When his parents lose their Kansas home in a tornado, Alan is desperate to help them ! financially. He turns to Cindy's father for a loan and is soon entrenched in a high-stakes gambling scheme. But all is not as it seems and Alan soon finds himself in over his head with many aspects of his life: his drug use, the women in his life, and even the FBI. Grenier is endearing as the truth-seeking Alan, and as a tough-talking Mafia princess, Gellar steps far away from her television persona as Buffy the Vampire Slayer. Eric Stoltz and Rebecca Gayheart lend their talents in supporting roles that add to the film’s twisting storyline.Harvard's star basketball player, Alan, is pushing his luck. He must hide one girlfriend, Cindy, the daughter of a mob boss, from his other girlfriend, Chesney, his promiscuous Philosophy professor. Alan's escapades finally catch up with him when his family faces dire financial difficulty. To remedy the situation, Alan asks Cindy to approach her mobster father for a loan. He offers the money on one condition: throw the next game. While! Alan contemplates the idea, he must juggle two girlfriends, d! eal with the mob, and face the FBI.THE HARVARD MAN - He is brilliant, possessing intelligence most would classify as genius, and he has always believed he was destined for Harvard University. However, there is a flaw. He is also mentally unstable, a psychopath with violent tendencies. Harvard has rejected his application! Now, he is determined to exact revenge in sweeping strokes of violence that will display his brilliance and bring America’s most prestigious university to its academic knees. If he can’t have Harvard, no one can!THE HARVARD MAN - He is brilliant, possessing intelligence most would classify as genius, and he has always believed he was destined for Harvard University. However, there is a flaw. He is also mentally unstable, a psychopath with violent tendencies. Harvard has rejected his application! Now, he is determined to exact revenge in sweeping strokes of violence that will display his brilliance and bring America’s most prestigious university to its academi! c knees. If he can’t have Harvard, no one can!Get the slip resistance you need at work in Skechers Work Men's Harvard Oxford Shoes Lace up this plain-toe oxford, featuring a leather upper with a padded collar that feels soft on your feet for a comfortable fit. The slip-resistant outsole is designed to help you stay steady on your feet, even in slippery workplace conditions.

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Speck Products ShieldView Anti-Glare Screen Protector for iPhone 4 (3 Pack + 1 Bonus Back Film)

• Protects touchscreens from scratches and smudges
• Anti-glare for improved visibility
• Low-tack adhesive, easy to apply and remove
• Made precisely to fit on the screen and back of your iPhone 4
• Does not fit on the 1st gen "original" iPhone or iPhone 3G/3GS
• Made precisely to fit on the screen and back of your iPhone 4 (Does not fit on the 1st gen "original" iPhone or iPhone 3G/3GS)
• To guarantee you receive new, authentic Speck merchandise, please select "ships from and sold by Amazon.com" product only

There is an indescribable freedom that comes from physically deceiving the world.

If you are a fan of Halloween then you know the euphoria of pretending to be Frankenstein or a prostitute or Spiderman or Wonder Woman or a tiger or Dorothy or any old somebody or something that you are not.

To be free of social constraints, to melt the wor! ld as you know it for an evening, to be tantalized by uniqueness, causes tens of millions of people to be filled with glee on the last day of October. Some people spend a week's pay and a year's plotting to come up with the perfect costume that will blow their friends' minds away.

For some reason, people experience untold amounts of elation when they get to pretend to be somebody who they are not.

Multiply that by 50,000 and you would come close to the level of euphoria you'd reach if you got to actually parade around in the skin of somebody else for a few days. Just imagine if, all of a sudden, with the mere injection of a needle, you became Asian or a midget or a man. A quick sting in the ribs and you're blonde or pretty or have an Afro. Just imagine becoming any of these combinations and infinitely more. Since you are no longer actually you, you are immediately freed up to talk to whomever you want to talk to without fear of them judging you. All of! a sudden, you can take revenge on enemies, commit crimes and ! be lasci vious without fear of repercussions. All of a sudden, you are free.

Imagine how much fun it would be to be anybody or anything you wanted to be!

And with absolutely no constraints, no restrictions, no limitations, no boundaries, no gravity!

Wouldn't that be great?!

The novel blurred explores this scenario and makes the following analogy:

Drop a frog into a pot of water and he'll swim about contentedly. Fatten him up with a few flies and he'll be the happiest frog in the world. He will swim around blissfully, unaware that a fire has been built beneath his pot, only that it has become warmer, until he is finally cooked alive.

blurred turns this figurative frog into Sam Senior who swims naively in a social milieu that has had a fire applied to it for generations. Brilliant in his use of the innernet (an internet connection in the brain), Sam can navigate dozens of websites simultaneously. A NetJeopardy champion ! on a full ride at a prestigious university, Sam's future looks bright. Perpetually checking social sites while surfing the net, even as he converses with people nearby, Sam doesn't initially realize that he is being held in the ubiquitous sway of a constant communication that paradoxically leads to a lack of real communication, a lack of deep communication.

However, Sam takes a class where he learns about a (possibly) mythological drug, DNA, which instantly alters a person's physical identity and is used primarily for either recreational sex, crime, or revenge. His professor teaches his class by having students read about "drops" he has taken where he engages in the above activities. Slowly, Sam begins to realize that the pot he is swimming in is getting too hot.

Mirrored by a future that suffers from a general dearth of love, Sam's loneliness is palpable. For, although the future is excessively promiscuous, love and sex are not always interchangeable. ! A hopeless romantic, Sam wants to wait for just the right woma! n before engaging in intercourse. Of course, with most people taking several sex partners a month, everyone mocks him as prude.

As the world begins to blur together, like water in a boiling pot, Sam quests after love. Buffeted about by reality, he finally finds the arms of a fascinating woman. Simpatico, they both realize that there is nothing in a transitory world but one another and the hope that their love can carry them through the darkness that is postmodernity.blurred is life when communications become utterly instantaneous and ubiquitous. When email is the new snail mail, texting is walking through sand with snow boots, and even Twitter is a bit too detailed.



blurred is what happens to the present as different cultures are absorbed into a monolithic, computer dominated culture that is attempting to rebuild the Tower of Babel.



blurred is the tale of a young man, Sam Senior, Jr., who can simultaneously blog, email and s! urf the net, even as he is having conversations with people who are standing directly in front of him. Using a program that is connected directly to his brain to accomplish all this, his ability to multitask makes him a celebrity at a very young age.



blurred then explores how a constant surge of communication leads paradoxically to a lack of real communication, a lack of deep communication. This steady flow of information leads to people being too "found" to ever become "lost." And lost people are the best at finding love. Therefore, the future suffers from a general dearth of love in a society that is mirrored in Sam's loneliness.



A hopeless romantic, Sam wants to wait for just the right woman before engaging in sexual intercourse. Of course, this being the promiscuous future with most people taking several different lovers a month, everyone mocks him as a prude. Nevertheless, as his friends engage in one sexual activity aft! er the other, Sam stands tall in his conviction ... for awhile! .
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There is a parable about a frog dropped into a pot of cool water who swims about contentedly even as a fire is built under him for cooking purposes. blurred substitutes out the frog with modern humanity and the fire with progress. The question is, do you jump out of the pot or continue to swim in the water while it’s still nice and warm?

There is a parable about a frog dropped into a pot of cool water who swims about contentedly even as a fire is built under him for cooking purposes. blurred substitutes out the frog with modern humanity and the fire with progress. The question is, do you jump out of the pot or continue to swim in the water while it’s still nice and warm?blurred is life when communications become utterly instantaneous and ubiquitous. When email is the new snail mail, texting is walking through sand with snow boots, and even Twitter is a bit too detailed.



blurred is what happens to the present as different cult! ures are absorbed into a monolithic, computer dominated culture that is attempting to rebuild the Tower of Babel.



blurred is the tale of a young man, Sam Senior, Jr., who can simultaneously blog, email and surf the net, even as he is having conversations with people who are standing directly in front of him. Using a program that is connected directly to his brain to accomplish all this, his ability to multitask makes him a celebrity at a very young age.



blurred then explores how a constant surge of communication leads paradoxically to a lack of real communication, a lack of deep communication. This steady flow of information leads to people being too "found" to ever become "lost." And lost people are the best at finding love. Therefore, the future suffers from a general dearth of love in a society that is mirrored in Sam's loneliness.



A hopeless romantic, Sam wants to wait for just the right woman before engaging in sexual in! tercourse. Of course, this being the promiscuous future with m! ost peop le taking several different lovers a month, everyone mocks him as a prude. Nevertheless, as his friends engage in one sexual activity after the other, Sam stands tall in his conviction ... for awhile.



There is a parable about a frog dropped into a pot of cool water who swims about contentedly even as a fire is built under him for cooking purposes. blurred substitutes out the frog with modern humanity and the fire with progress. The question is, do you jump out of the pot or continue to swim in the water while it’s still nice and warm?

There is a parable about a frog dropped into a pot of cool water who swims about contentedly even as a fire is built under him for cooking purposes. blurred substitutes out the frog with modern humanity and the fire with progress. The question is, do you jump out of the pot or continue to swim in the water while it’s still nice and warm?Australia released, PAL/Region 4 DVD: it WILL NOT play on standard US DVD player.! You need multi-region PAL/NTSC DVD player to view it in USA/Canada: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Dolby DTS 5.1 ), ANAMORPHIC WIDESCREEN (1.78:1), SPECIAL FEATURES: Anamorphic Widescreen, Commentary, Deleted Scenes, Interactive Menu, Scene Access, Short Film, Teaser(s), Trailer(s), SYNOPSIS: After high school graduation, the tradition of 'Schoolies Week' has emerged at a Queensland's Gold Coast resort in which 70,000 kids from all over Australia congregate for a hedonistic week of drinking, drugs, and sex. Five couples travelling to this party of a life-time are in for the ride of their lives. ...BlurredSpeck Products ShieldView Anti-Glare Screen Protector for iPhone 4

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Volver

• Condition: New
• Format: DVD
• AC-3; Closed-captioned; Color; Dolby; DVD; Subtitled; Widescreen; NTSC

Writer/director Pedro Almod??var's dark, sexy Hitchcock homage is his best work since his Oscar-winning "All About My Mother", and deepened by a sun-dappled sadness. Handsome, enigmatic ?Ångel (Gael Garc??a Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, ?Ångel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memo! ries-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almod??var the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. "--Steve Wiecking"Writer/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, Ángel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruell! y intervened. The script, and the lost days it recalls, carefu! lly unfu rls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve WieckingWriter/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, Ángel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love! he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve WieckingWriter/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice ac! tor, Ángel pitches a semi-autobiographical screenplay in whic! h he's d etermined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve WieckingWomen on the Verge of a Nervous Breakdown Pedro Almodovar broke into the art-house mainstream with this wild, manic comedy about a gaggle of women and their various problems with men, be they married lovers, cheating husbands, fiancés, or terrorists. Almodovar's long-time leading lady, Carmen Maura, stars as an actress (famed for her laundry detergent commercial as the mother of a slo! ppy serial killer) who's just been dumped by her married lover. In the midst of trying to track him down for a face-to-face confrontation, she crosses paths with her lover's son (Antonio Banderas), his unbalanced wife (Julieta Serrano), and his new girlfriend (Kiti Manver). Adding more fuel to the fire is the hapless friend (Maria Barranco) who got involved with a Shiite terrorist and is now being hunted by the police. Almodovar, a master of farcical screwball comedy, manages to keep all these balls in the air in dizzy, hilarious style without once losing his momentum. Chock full of the director's over-the-top stylization, in terms of both story and sets, the film is a hilarious yet heartfelt marriage of kitsch and drama, verging on parody but never going entirely over the top. Maura is absolutely breathtaking as the unhinged lover, dispensing wise advice to others while trying to keep a semblance of sanity, and the supporting cast is quintessential Almodovar, including a b! rief but memorable turn by Banderas in what could have been a ! bland, g o-nowhere role. Nominated for the Best Foreign Language Film Oscar in 1989. --Mark Englehart

All About My Mother After 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 M! y 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, 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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Talk to Her
Writer-director Pedro Almodóvar makes another masterpiece with Talk to Her, his first film since the wonderful All About My Mother. Marco (Dario Grandinetti) is in love with Lydia (Rosario Flores), a female bullfighter who is gored by a bull and sent into a coma. In the hospital, Marco crosses paths with Benigno (Javier Camara), a male nurse who looks after another coma patient, a young dancer named Alicia (Leonor Watling). From Benigno's gentle attentiveness to Alicia, Marco learns to take care of Lydia... but from there, the story goes in directions that deftly manage to be sad, hopeful, funny, and creepy, sometimes at the same time. The rich human empathy! of Almodóvar's recent films is passionate, heartbreaking, intoxicating--there aren't enough adjectives to praise this remarkable filmmaker, who is at the height of his powers. Talk to Her is superb, with outstanding performances from all involved. --Bret Fetzer

The Flower of My Secret
Pedro Alomodóvar made this misfired, rambling comedy about a romance novelist (Marisa Paredes) whose crumbling marriage has left her depressed and unable to work. At a low point, she writes a scathing indictment of her own books (which are penned under another name), with no one realizing critic and auth! or are one and the same. Almodóvar ( Law of Desire) ha! s the st art of a great idea here, and for once, he's direct about his sympathy for a character. But nothing else about The Flower of My Secret is so clear. Despite its unusual allegiance to the straightforward "women's films" of the 1950s, this movie blows it by becoming needlessly complicated over extraneous junk, forcing one to grope in the dark for Almodóvar's point. -- Tom Keogh

Bad Education
Writer/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic ! Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice actor, Ángel pitches a semi-autobiographical screenplay in which he's determined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. -- Steve Wiecking

Mo! re Still s from Pedro Almodovar Classics Collection(click for larger image)

More Pedro Almodovar at Amazon.com

Songs of Almodóvar CD

Volver

The Films of Pedro Almodóvar

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 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 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 a! ll 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 FetzerWriter/director Pedro Almodóvar's dark, sexy Hitchcock homage is his best work since his Oscar-winning All About My Mother, and deepened by a sun-dappled sadness. Handsome, enigmatic Ángel (Gael García Bernal) arrives at the Spanish movie offices of director Enrique Goded (Fele Martinez) and happily proclaims that he's actually Enrique's long-lost school chum Ignacio--an announcement that is both less than convincing and more than it seems. A novice ac! tor, Ángel pitches a semi-autobiographical screenplay in whic! h he's d etermined to star, a revenge-laden reflection of the doomed love he and Enrique shared as boys before a pedophile priest cruelly intervened. The script, and the lost days it recalls, carefully unfurls into a series of brooding movies-within-movies and memories-inside-memories, which allow the sensual, multiple-role-playing Bernal to give the performance of his young career--among other things, he makes a stunningly convincing drag queen--and Almodóvar the opportunity to movingly suggest that people will pay any price to ensure that their stories are told. --Steve WieckingInformed by a vintage Hollywood production sheen and flashback-fueled, identity-questioning melodramatics worthy of Hitchcock, Spanish filmmaker Pedro Almodovar's sexually-charged film was quickly hailed as a mature masterpiece. The film's classic Hollywood conceits are deep-rooted, and Iberian composer Alberto Iglesias reinforces the film's often retro mood via a brooding, classically oriented score! with an ear towards history. It may briefly excerpt Rossini's "Kyrie" to haunting effect, but the touchstone here is the Bernard Herrmann of Hitchcock's prime, with an emphasis on their epochal Vertigo and especially the tense, dark strings of Psycho (which "Escena Familiar" and "Cine Olimpo" echo with haunting grace). But while Iglesias capably evokes the color and spirit of those iconic touchstones, he crucially does it without sacrificing his own identity. Evocations of Spanish culture come mostly via vintage performances of "Quiza, Quiza, Quiza," "Cuoro Matta" and others, but on the expansive "Puerta Finale" the composer skillfully interweaves his Herrmann influences with touches of mournful jazz, flamenco and "Kyrie"'s choral echoes, creating a compelling, oft chilling post-modern new whole. -- Jerry McCulleyVOLVER - DVD MovieSpanish for "Coming Back," Volver is a return to the all-female format of All About My Mother. Unlike Pedro A! lmodóvar's previous two pictures, the story revolves around a! group o f women in Madrid and his native La Mancha. (The cast received a collective best actress award at Cannes.) Raimunda (a zaftig Penélope Cruz) is the engine powering this heartfelt, yet humorous vehicle. When husband Paco (Antonio de la Torre) is murdered, Raimunda makes like Mildred Pierce to deflect attention away from daughter Paula (Yohana Cobo). After telling everyone the lout has left, she struggles to conceal his body. The other women in her life all have secrets of their own. Her sister, Sole (Lola Dueñas), for instance, has taken in their mother, Irene (a sprightly Carmen Maura). Since Irene perished in a fire, is this person a ghost or simply a woman who looks like her? Then there's their childhood friend, Agustina (Blanca Portillo), who is desperate to find out why her mother disappeared after the blaze. Was she responsible? Almodóvar deftly blends the ghost story with the murder mystery in his tribute to the Italian neo-realist films of the 1950s. The resilient ! Raimunda is a throwback to the earthy heroines of Sophia Loren and Anna Magnani. The latter appears in Luchino Visconti's Bellissima, which shows up on Sole's television one night (thus confirming the link). If Almodóvar’s 16th feature lacks the emotional punch of the more audacious Talk to Her, it's less heavy-handed than Bad Education and Cruz is a revelation. --Kathleen C. Fennessy

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Haiku Tunnel Framed Poster Movie 11 x 17 Inches - 28cm x 44cm Josh Kornbluth Warren Keith Leah Alperin

• Quality frame moldings are custom cut to the exact size of the poster
• We use special non glare Plexiglas so your poster will look its best from any angle even in highly lit areas
• Custom frame is hand crafted with care by our highly experienced staff
• Protected with heavy bubble wrap and shipped in a sturdy corrugated box.
• Approximate 11 x 17 Inches - 28cm x 44cm Haiku Tunnel Style A Framed Poster

When office temp Josh Kornbluth (played, in semiautobiographical style, by Josh Kornbluth) is offered a permanent position as secretary for a high-powered attorney, his entire world begins to crumble. The psychological pressure of commitment proves almost too much to bear, leading him to delay mailing 17 very important letters--an oversight that forces him into an all-night adventure that is simultaneously petty and epic. Kornbluth has gained prominence in ! the world of solo performance, but this is a fully realized film (albeit one in which Kornbluth occasionally talks directly to the camera, offering amusing commentary) that vividly captures the insidious anxiety that office work can inspire. Kornbluth's plump face is engaging; you'll find yourself oddly touched (and a little appalled) by his self-destructive behavior. Haiku Tunnel is a strong contribution to the expanding subgenre of office comedies. --Bret FetzerWhen office temp Josh Kornbluth (played, in semiautobiographical style, by Josh Kornbluth) is offered a permanent position as secretary for a high-powered attorney, his entire world begins to crumble. The psychological pressure of commitment proves almost too much to bear, leading him to delay mailing 17 very important letters--an oversight that forces him into an all-night adventure that is simultaneously petty and epic. Kornbluth has gained prominence in the world of solo perfor! mance, but this is a fully realized film (albeit one in which! Kornblu th occasionally talks directly to the camera, offering amusing commentary) that vividly captures the insidious anxiety that office work can inspire. Kornbluth's plump face is engaging; you'll find yourself oddly touched (and a little appalled) by his self-destructive behavior. Haiku Tunnel is a strong contribution to the expanding subgenre of office comedies. --Bret FetzerApproximate 11 x 17 Inches - 28cm x 44cm Haiku Tunnel Style A

Pop Culture Graphics' trained staff custom frame to order and ship directly to you, ready to hang. 100% Satisfaction Guaranteed.

We use special non glare Plexiglas so your poster will look its best from any angle even in highly lit areas.

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