Jumat, 25 November 2011

Torque (Widescreen Edition)

  • High-Speed Action Adventure. Biker Cary Ford (Martin Henderson) returns to his hometown to reunite with his girlfriend (Monet Mazur). Once home, Ford is framed for a murder he didn't commit, targeted for revenge by the victim's brother (Ice Cube) and pursued by the FBI as he tries to clear his name and outrace his enemies.Running Time: 84 min. Format: DVD MOVIE Genre: ACTION/ADVENTURE
Studio: Paramount Home Video Release Date: 02/14/2006 Run time: 111 minutes Rating: RWhen it's revved up to maximum rpm's, Biker Boyz qualifies as an adequate knockoff of The Fast and the Furious. Both films were inspired by magazine articles about speed-freak outlaws on the streets of California, only this time the nitrous-enhanced "rice rockets" are of the two-wheeled variety, and Smoke (Laurence Fishburne) is the reigning "King of Cali," leading a predominantly African American subculture th! at schedules illegal motorcycle races with high stakes and potentially lethal outcomes. Kid (Derek Luke, the promising newcomer from Antwone Fisher) is the latest challenger, facing off against Dogg (Kid Rock) and others before coming to terms with his own familial destiny. Following his incisive HBO debut, Dancing in September, director Reggie Rock Bythewood approached Biker Boyz as a modern Western, but it's really just a strutter's ball with polished chrome and tailpipes. Meagan Good, Lisa Bonet, and Vanessa Bell Calloway provide sexy feminine wisdom, badly needed in a movie that's all flash and precious little substance. --Jeff Shannon Studio: Paramount Home Video Release Date: 02/14/2006 Run time: 111 minutes Rating: RWhen it's revved up to maximum rpm's, Biker Boyz qualifies as an adequate knockoff of The Fast and the Furious. Both films were inspired by magazine articles about speed-freak outlaws on the streets of Californ! ia, only this time the nitrous-enhanced "rice rockets" are of ! the two- wheeled variety, and Smoke (Laurence Fishburne) is the reigning "King of Cali," leading a predominantly African American subculture that schedules illegal motorcycle races with high stakes and potentially lethal outcomes. Kid (Derek Luke, the promising newcomer from Antwone Fisher) is the latest challenger, facing off against Dogg (Kid Rock) and others before coming to terms with his own familial destiny. Following his incisive HBO debut, Dancing in September, director Reggie Rock Bythewood approached Biker Boyz as a modern Western, but it's really just a strutter's ball with polished chrome and tailpipes. Meagan Good, Lisa Bonet, and Vanessa Bell Calloway provide sexy feminine wisdom, badly needed in a movie that's all flash and precious little substance. --Jeff Shannon High-Speed Action Adventure. Biker Cary Ford (Martin Henderson) returns to his hometown to reunite with his girlfriend (Monet Mazur). Once home, Ford is framed for a murder he did! n't commit, targeted for revenge by the victim's brother (Ice Cube) and pursued by the FBI as he tries to clear his name and outrace his enemies.A lot has changed in the biker-movie genre since Hell's Angels on Wheels, and Torque may be the new benchmark of feverish chopper action. Martin Henderson plays Cary, a speed king and relatively civilized outlaw with a knack for annoying everyone, including drug smugglers, the FBI, an ex-girlfriend, and, worst of all, biker gang leader Trey (Ice Cube), who thinks Cary killed his brother. On the run from everyone, Cary survives by playing all sides against one another. But the story is less important than the frantic, over-the-top, tongue-in-cheek action surrounding it. The Fast and the Furious producer Neal H. Moritz is responsible for this crazy, violent, yet appealingly sardonic cowboys-on-wheels piece. --Tom Keogh

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Fracture (Widescreen Edition)

  • Academy Award? winner Anthony Hopkins and Academy Award? nominee Ryan Gosling are brilliant in this "exceptionally suspenseful nail-biter" (Rex Reed) that's so smart it "doesn't let go, even after the final twist" (Gene Shalit, "Today"). Ted Crawford (Hopkins) brutally murders his wife and calmly waits for the police to arrest him. With the weapon and a signed confession in hand, Deputy D.A., Will
Academy Award® winner Anthony Hopkins and Academy Award® nominee Ryan Gosling are brilliant in this "exceptionally suspenseful nail-biter" (Rex Reed) that's so smart it "doesn't let go, even after the final twist" (Gene Shalit, "Today"). Ted Crawford (Hopkins) brutally murders his wife and calmly waits for the police to arrest him. With the weapon and a signed confession in hand, Deputy D.A., Willy Beachum (Gosling), believes a conviction is a slam dunk; that is until the case completely unrav! els. Now, with little evidence, Beachum goes head to head with the cunning Mr. Crawford in a desperate search for the truth and the answer to one burning question: How is this guy getting away with murder?Anthony Hopkins plays a brilliant, pathologically serene killer outwitting the good guys at every turn and taking a shine to a twentysomething law enforcer who can’t conceal a rural accent and rugged origins. Could it be...? No, not The Silence of the Lambs, but an original mystery, Fracture, which plays a little like Lambs as an episode of Columbo, minus Columbo. Which means the film tells us from the get-go that Hopkins’ character, a wealthy engineer, shoots his philandering wife (Embeth Davidtz) and leaves her in a vegetative state. From there, it should be a simple matter for young, assistant District Attorney Willy Beachum (Ryan Gosling) to nail Crawford, who provides a full confession and even eschews counsel. That’s good for Beachum! , a slick winner with a vague background of deprivation, rapid! ly on hi s way out of public service after attracting the attention of a deep-pocket, private firm. What he doesn’t know, however, is that Crawford has masterminded more than vengeance against his wife, and that the state’s case against him is full of pre-arranged holes and a huge time-bomb that will send Beachum scrambling to keep the pieces together.

The story, conceived and co-scripted by Daniel Pyne (Doc Hollywood), goes down easily with a minimum of blood and violence, and should easily appeal to mystery buffs as well as old fans of Hopkins and new admirers of Oscar nominee Gosling (Half Nelson). The latter holds his own in multiple, two-character scenes with the masterful portrayer of Hannibal Lecter, pacing Beachum’s reactions to Crawford’s polite provocations so everything spills onto his youthful face: torn loyalties, confusion, gullibility. Director Gregory Hoblit (Hart’s War), still best-known for decades of distinguished television wor! k (NYPD Blue), brings the necessary intimacy to make the stars’ chemistry work effectively. His noirish atmosphere is a little over the top, sometimes pushing the audience to a level of expectation that the film isn’t really ready to deliver, but this, overall, is an enjoyable work. --Tom Keogh

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Parties are not always as fun as they look like they should be. The distinction lies in the realm between watching people have fun and actually having fun. Case in point: Groove. Set in San Francisco over the course of one night, this is the story of a rave, plain and simple. Preparation includes inhabiting an empty warehouse, finding the power supply, and sending out coded invitations. The movie kicks in as the party does, when people start arriving and the DJs start spinning. There's a nice moment early on when a cop shows up asking for the owner of the building, who is then taken on a tour of "a new ! Internet start-up." It becomes even funnier when the cop turns out to be smarter and more compassionate than anyone would expect. Writer-director Greg Harrison does a smart thing by focusing the story on David, a novice who's never been to a rave before, which breaks the story out of what could have been the suffocatingly insular world of rave culture. Unknowingly dosed by someone (his brother?), David is adopted by Layla, an attractive but lonely East Coast transplant who has begun to regret her party lifestyle. Other characters include a guy who's just proposed to his girlfriend, a college teaching assistant selling his own manufactured drugs, a nefarious lothario, a DJ who gets to meet his idol, and a gay couple having trouble finding the party. If the characters turn out to be just character types, that's OK because the movie itself floats by on its own high-octane enthusiasm. Groove is light and frothy entertainment with a beat you can dance to. --Andy Spletz! er

Geneva Holliday’s juicy novel brings a lighter touc! h to Afr ican American erotica, setting the sexual escapades amid the real-life folly and drama of four very different friends during one incredibly hot summer in New York City. This funny, sexy book has something for everyone!

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Amreeka

  • AMREEKA (DVD MOVIE)
Amreeka chronicles the adventures of Muna, a single mother who leaves the West Bank with Fadi, her teenage son, with dreams of an exciting future in the promised land of small town Illinois. In America, as her son navigates high school hallways the way he used to move through military checkpoints, the indomitable Muna scrambles together a new life cooking up falafel burgers as well as hamburgers at the local White Castle. Told with heartfelt humor by writer-director Cherien Dabis in her feature film debut, Amreeka is a universal journey into the lives of a family of immigrants and first-generation teenagers caught between their heritage and the new world in which they now live and the bittersweet search for a place to call home. Amreeka recalls Dabis's family's memories of their lives in rural America during the first Iraq War. The film stars Haifa-trained a! ctress Nisreen Faour as Muna, and Melkar Muallen plays her 16-year-old son, Fadi. Also in the cast are Hiam Abbass, Alia Shawkat, Yussef Abu-Warda and Joseph Ziegler. Written and directed by Cherien Dabis, Amreeka was produced by Christina Piovesan and Paul Barkin. Alicia Sams, Dabis and Gregory Keever were executive producers; Liz Jarvis and Al-Zain Al-Sabah were co-producers. Amreeka made its world premiere in dramatic competition at the 2009 Sundance Film Festival, and played as Opening Night of New Directors/New Films, a co-presentation of The Museum of Modern Art and The Film Society of Lincoln Center. Amreeka made its debut internationally in Directors' Fortnight at the Cannes Film Festival.

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This book includes Brancusi, Richard Long, James Turrell and others. Updated and expanded, this fourth edition crosses boundaries of art and urban landscape planning. The book begins with an enlightening introduction tracing the historical roots of art in the landscape: Stonehenge, Indian mounds, cliff dwellings, park design from 18th-century England to modern-day golf courses. The opening chapter deals with such innovative artists as Robert Smithson, Nancy Holt, Walter De Maria, and Christo, who in the 1960s began to free their art from the confines of tradition by constructing monumental sculptures in the environment. The following chapters ! discuss their predecessors, peers, and successors, including Constantin Brancusi, Herbert Bayer, Richard Long, James Turrell, and many others. The final four chapters (chapter 7 is entirely new) explore at length the increasing involvement of artists in land reclamation and urban design, featuring projects by Michael Heizer, Nancy Holt, Mel Chin, Maya Lin, and many others.This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.The M30 is an affordable, reliable 30 kHz reference microphone. It utilizes a very small, very accurate omnidirectional element, a carefully crafted stainless steel body, and innovative circuitry to deliver flat, time c! oherent response from 9 Hz to 30 kHz. The M30 has become the d! efacto s tandard reference for Smaart, MLSSA, SIMM and TEF. The M30 is the most cost-effective measurement microphone which you can trust. It exceeds the specified requirements for al audio band measurement systems. The M30 is a standard.The M30 comes with a measured frequency response chart which includes a value for sensitivity. Since the M30 is stable with respect to temperature, you can input this number if your program allows and be very close to correct absolute SPL. We also ship the M30 with a 'white' calibrator adapter which adapts from the M30 to a 1/2-inch calibrator adapter for field calibration.The M30 is available as amatched pair and doubles as a great sounding recording microphone. It is sturdy and reliable. The M30 is a sound investment.

House on Haunted Hill

  • Condition: New
  • Format: DVD
  • Closed-captioned; Color; DVD; Widescreen; NTSC
When an eccentric millionaire offer a group of opposites $1,000,000 to spend the night in a so called "Haunted House" with a murderous past, they figure it is a quick way to get quick money and leave. All of them are sure it is some made up story just to mess with their heads a little and test their courage. But, once they stay in the house they start to think about the mistake they made in coming there when mysterious things start to happen.House on Haunted Hill is one of the new breed of waste-no-time thrill machines, like Deep Blue Sea, and a particularly effective example at that. The plot is pure contrivance: For a party stunt, a wealthy amusement-park manufacturer (Geoffrey Rush) offers five people a million dollars if they spend the night in a former insane asylum where the patients! murdered the sadistic staff. But it turns out the five people who arrive aren't the five he invited--did his wife (Famke Janssen), who hates him, make the switch? From there events unfold with a smart combination of human and supernatural machinations; spooky jolts are dispensed at regular, but not entirely predictable, intervals. The visual effects owe a considerable debt to Jacob's Ladder, a much more ambitious movie; House on Haunted Hill just wants to get under your skin, and succeeds more than you'd expect. Rush is his entertainingly hammy self; Janssen, Taye Diggs, Ali Larter, and Bridgette Wilson are attractive and reasonably straight-faced about it all; and Chris Kattan is genuinely funny as the house's neurotic owner. Some elements of the plot seem to have been lost in the editing process, but it hardly matters. More bothersome is that the scares go flat when computer effects take over at the end--the digital images just aren't as creepy as the more! suggestive stuff that came before. But that's just the very e! nd; most of the movie has a lot of momentum. Watch until the end of the credits for a final bit of eeriness. --Bret Fetzer
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