Hairspray: Deluxe Edition

• In 1962 Baltimore, chunky Tracy Turnblad (Nikki Blonsky) dreams big: land a gig on the see-and-be-seen TV teen-scene hit The Corny Collins Show, win the heart of the nicest and cutest boy in school (Zac Efron), and strike a blow for civil rights. And whaddaya know it all comes true! Boppin with all the joy of the long-running, award-winning Broadway musical smash and blazing with sublime star powe

In 1962 Baltimore, chunky Tracy Turnblad (Nikki Blonsky) dreams big: land a gig on the see-and-be-seen TV teen-scene hit The Corny Collins Show, win the heart of the nicest and cutest boy in school (Zac Efron), and strike a blow for civil rights. And whaddaya know â€" it all comes true! Boppin’ with all the joy of the long-running, award-winning Broadway musical smash and blazing with sublime star power (including John Travolta and Christopher Walken as Tracy’s devoted, dance-happy mom and dad),! “Hairspray earns knockout status for its humor, heart and high spirits. …a plus-size bundle of fun” (Peter Travers, Rolling Stone).

SPECIAL FEATURES:
2 Commentaries:
• Director Adam Shankman and Co-Star Nikki Blonsky
• Producers Craig Zadan and Neil Meron
5 Fabulous Featurettes:
• Inside the Recording Booth
• It’s Hairspray
• Playing Tracy
• Transform Travolta to Turnblad
• Search for Tracy
Subtitles: English & Español (Main Feature. Bonus Material/Trailer May Not Be Subtitled)

While Supplies Last:
• CD sampler featuring 5 songs from the original soundtrackIt's rare that a movie captures the intensity and excitement of a live Broadway musical production while appealing to a broader movie-going audience, but the 2007 Hairspray is an energetic, powerfully moving f! ilm that does just that. A remake of the 1988 musical film Hairspr ay, the new Hairspray is a film adaptation of the 2002 Broadway musical and features more likeable characters than the original film and an incredible energy that stems from a great cast, fabulous new music, and the influence of musical producer Craig Zadan. What remains constant throughout all three versions of Hairspray is the story's thought-provoking exploration of prejudice and racism. Set in Baltimore in 1962, the film opens with chubby girl Tracy Turnblad (Nikki Blonsky) singing her heart out in a rendition of "Good Morning Baltimore" that, while admittedly a bit too long, sets the farcical tone for the film. Viewers quickly become immersed in Tracy's teenage world of popular television dance shows, big hair, the stigma of being different, and the first hesitant steps toward racial integration within a segregated world. The Corny Collins (James Marsden) television dance show is a teenage obsession in Tracy's world and Link Larkin (Zac Efron) is ! every girl's dream partner, so when a call for auditions goes out, Tracy skips school to try out, but is rejected by station manager Velma von Tussle (Michelle Pfeiffer) because of her large size and the threat of competition for Velma's own daughter Amber (Brittany Snow). Perseverance and the support of her friend Penny (Amanda Bynes), father Wilbur (Christopher Walken), and negro dancer Seaweed (Elijah Kelley) lead Tracy to the spotlight and the chance of a lifetime, but more and more Tracy discovers that fairness and equality for those who are different does not come without a fight and that sacrifices must be made to effect change. While the message is serious, Hairspray is first and foremost a comedy with stellar performances by John Travolta as Edna Turnblad (who ever imagined Saturday Night Fever's iconic star would appear onscreen as a woman?), Christopher Walken, and Michelle Pfeiffer. Part of what makes Hairspray so powerful is the exceptio! nal music composed by Marc Shaiman, including songs newly comp! osed for the movie like "Ladies' Choice," "The New Girl in Town," and "Come So Far," and the awesome vocal talents of Queen Latifah (Motormouth Maybelle) and a cast of heretofore musically-unknown actors like Nikki Blonsky, Zac Efron, and Brittany Snow who really can sing. Notable trivia includes Jerry Stiller's appearance in both versions of the film (as Wilbur in the 1988 film and as Mr. Pinky in this 2007 rendition), and a cameo appearance by 1988 director and screenplay writer John Waters. Hairspray is one of the best films of the year--it's powerfully moving entertainment that leaves you energized and motivated to fight for what you believe in. --Tami Horiuchi

Read more »

Easy

• Jamie Harris (Marguerite Moreau) is a 25-year-old self-proclaimed jerk magnet. After determining not to spend the rest of her life as the easy chick, she gets involved in a romantic triangle with 2 great guys (2004 Tony winner Brian F. O Byrne and Lost s Naveen Andrews), only to discover that love is anything but easy. Format: DVD MOVIE Genre: COMEDY Rating: NR Age: 025192

Jamie Harris (Marguerite Moreau) is a 25-year-old self-proclaimed "jerk magnet." After determining not to spend the rest of her life as "the easy chick," she gets involved in a romantic triangle with 2 great guys (2004 Tony winner Brian F. O'Byrne and "Lost's" Naveen Andrews), only to discover that love is anything but easy.

Read more »

Dorian Gray

• DORIAN GRAY (DVD MOVIE)

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.A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense ! of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."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 o! f the Ki ndle edition includes wireless delivery.

Celebrated novel traces the moral degeneration of a handsome young Londoner from an innocent fop into a cruel and reckless pursuer of pleasure and, ultimately, a murderer. As Dorian Gray sinks into depravity, his body retains perfect youth and vigor while his recently painted portrait reflects the ravages of crime and sensuality.

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The bir! ds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

The ! Picture of Dorian Gray altered the way Victorians understo! od the w orld they inhabited. It heralded the end of a repressive Victorianism, and after its publication, literature hadâ€"in the words of biographer Richard Ellmannâ€"“a different look.” Yet the Dorian Gray that Victorians never knew was even more daring than the novel the British press condemned as “vulgar,” “unclean,” “poisonous,” “discreditable,” and “a sham.” Now, more than 120 years after Wilde handed it over to his publisher, J. B. Lippincott & Company, Wilde’s uncensored typescript is published for the first time, in an annotated, extensively illustrated edition.

The novel’s first editor, J. M. Stoddart, excised materialâ€"especially homosexual contentâ€"he thought would offend his readers’ sensibilities. When Wilde enlarged the novel for the 1891 edition, he responded to his critics by further toning down its “immoral” elements. The differences between the text Wilde submitted to Lippincott and published versions of the novel h! ave until now been evident to only the handful of scholars who have examined Wilde's typescript.

Wilde famously said that Dorian Gray “contains much of me”: Basil Hallward is “what I think I am,” Lord Henry “what the world thinks me,” and “Dorian what I would like to beâ€"in other ages, perhaps.” Wilde’s comment suggests a backward glance to a Greek or Dorian Age, but also a forward-looking view to a more permissive time than his own, which saw Wilde sentenced to two years’ hard labor for gross indecency. The appearance of Wilde’s uncensored text is cause for celebration.

(20110323)Forever young. Forever cursed. Based on the acclaimed novel by Oscar Wilde. Upon arriving in London, the young and powerful Dorian Gray (Ben Barnes) becomes drawn into a world of debauchery and decadence by Lord Henry Wotton (Colin Firth). Desperate to preserve the beauty captured in his exquisite portrait, Dorian trades his soul for eternal youth â€" leading him d! own a path of wickedness and murder in order to protect his ho! rrifying secret.

Read more »

Don't Move

• Timoteo's life takes a dramatic turn when he discovers that his fifteen year old daughter has been seriously injured in a motorcycle accident. As she undergoes emergency surgery, Timoteo casts his mind back to his illicit affair with the passionate Italia. Based on the novel by Margaret Mazzantini. Format: DVD MOVIE Genre: FOREIGN Rating: NR Age: 720917549125 UPC:&nb

Timoteo's life takes a dramatic turn when he discovers that his fifteen year old daughter has been seriously injured in a motorcycle accident. As she undergoes emergency surgery, Timoteo casts his mind back to his illicit affair with the passionate Italia... Based on the novel by Margaret Mazzantini.

Read more »

Dodgeball - A True Underdog Story (Full Screen Edition)

• brings a lot of laughs

You'll dodge, duck, dip, dive. . . and laugh out loud watching Vince Vaughn and Ben Stiller settle their differences in a winner-take-all dodgeball competition. Under the painful tutelage of legendary ADAA champ, Patches O'Houlihan (Rip Torn), Peter LaFleur (Vaughn) and his Average Joes take on the Purple Cobras, led by egomaniacal fitness guru, White Goodman (Stiller). It's an over-the-top underdog tale filled with hilarious sight gags and balls-out fun!How's this for impressive trivia: Dodgeball faced off against The Terminal in opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction--along with a sublime cast of screen comedians--proved to be just what moviegoers w! ere ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughn) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughn and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughn, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeball is no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. --Jeff ShannonStudi! o: Tcfhe Release Date: 12/09/2008 Run time: 92 minutes Rati! ng: Pg13 How's this for impressive trivia: Dodgeball faced off against The Terminal in opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction--along with a sublime cast of screen comedians--proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughan) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughan and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughan, Stiller, and their well-cast costars (including S! tiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeball is no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. --Jeff ShannonYou'll dodge, duck, dip, dive. . . and laugh out loud watching Vince Vaughn and Ben Stiller settle their differences in a winner-take-all dodgeball competition. Under the painful tutelage of legendary ADAA champ, Patches O'Houlihan (Rip Torn), Peter LaFleur (Vaughn) and his Average Joes take on the Purple Cobras, led by egomaniacal fitness guru, White Goodman (Stiller). It's an over-the-top underdog tale filled with hilarious sight gags and balls-out fun!How's this for impressive trivia: Dodgeball faced off against The Terminal in opening-weekend c! ompetition, and 29-year-old writer-director Rawson Marshall Th! urber ac ed Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction--along with a sublime cast of screen comedians--proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughan) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughan and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughan, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Han! k Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeball is no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. --Jeff ShannonYou'll dodge, duck, dip, dive. . . and laugh out loud watching Vince Vaughn and Ben Stiller settle their differences in a winner-take-all dodgeball competition. Under the painful tutelage of legendary ADAA champ, Patches O'Houlihan (Rip Torn), Peter LaFleHow's this for impressive trivia: Dodgeball faced off against The Terminal in opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction--along with a sublime cast of screen comedians--proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp i! n which the underdog owner of Average Joe's Gym (Vince Vaughan! ) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughan and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughan, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeball is no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. --Jeff Shannon

Read more »

Billy's Hollywood Screen Kiss 15x21 Framed Art Print

• High quality framed art print
• Two inch wide black wood frame
• In stock and ready to frame and ship
• Custom packed for safe delivery
• Satisfaction Guaranteed

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 Nechak

Read more »

American Cannibal - The Documentary

• Reality television reaches a preposterous extreme in this spoof of the addictive genre. Told through reality-techniques in a sub-documentary style, AMERICAN CANNIBAL captures the journeys that two television writers take in a last-ditch attempt to find success, no matter what the cost. Format: DVD MOVIE Genre: DOCUMENTARIES Rating: NR Age: 880215104393 UPC: 880215104

American Cannibal has been chosen by MTV as Best Documentary of 2007.

AMERICAN CANNIBAL takes the reality television craze to the next provocative level as two out of work television writers desperately try to get their break on the small screen. Dave Roberts and Gil S. Ripley are hired by the publicity-obsessed promoter Kevin Blatt, to create a brutal all-or-nothing reality television show "where survival is just the beginning." Soon, all involved with the production realize that their lust for success is eat! ing at them literally and figuratively.

Read more »

Babyworks Baby-boys Infant Car Fleece Jog Set, Blue, 12 Months

• zip front
• hooded Jacket
• 3 pc set

The story of a young ex-con Jack, newly released from serving a prison sentence for a murder he committed as a child.An intriguing tragedy held together by a pair of remarkable performances, Boy A takes hold of a viewer in its opening scene and never lets go. Andrew Garfield (The Other Boleyn Girl) plays "Jack Burridge," a name chosen for him by a somewhat mysterious, avuncular fellow called Terry (Peter Mullan). Terry seems to be the only person to have maintained a relationship with Jack during the years the latter was incarcerated for a terrible crime he committed, with another child, as a boy. (Their misdeed is slowly revealed in detail through frequent flashbacks.) This British film, based on a novel by Jonathan Trigell and directed by John Crowley (Intermission), begins with Terry smoothing a path for Jack to re-enter the world w! ith a new identity and fabricated personal history. Taking a delivery job in Manchester, Jack slowly learns about everything he missed while growing up in prison: how to order from a menu, how to be a friend, how to woo a woman. In time, Jack enjoys the esteem of co-workers and love of a compassionate girlfriend, Kelly (Siobhan Finneran). But the more he becomes part of the fabric of his world, the more he risks being exposed as a fraud. A strange, almost alien tension permeates Boy A. A viewer gets crucial information in bits and pieces, and a radical shift in one’s perception of what’s actually going on in the story awaits the audience in the second act. As betrayal and manipulation slowly emerge from behind layers of obfuscation and false assumptions, Boy A takes on an unexpected tone of psychological suspense. Crowley has a way of underscoring a sense of disconnection in seemingly benign scenes with only slight accents, little visual cues that are ! dreamily exotic but add up to a nightmare. --Tom Keogh

“A shocker of a first novel . . . told with extraordinary restraint.”â€"The New York Times

“[Jonathan] Trigell masterfully builds sympathy for Jack.”â€"Entertainment Weekly

“A modern-day immorality tale about the attempted rehabilitation of a child implicated in murder . . . delivered with a horrific sense of foreboding.”â€"Arena

“A fine and moving debut novel . . . compulsively readable . . . a rare treat.”â€"The Independent

A is for Apple. A bad apple.

Jack has spent most of his life in juvenile institutions; he’s about to be released with a new name, a new job, and a new life. At twenty-four, he is utterly innocent of the world, yet guilty of a monstrous childhood crime.

To his new friends, he is a good guy with occasional fl ashes of unexplained violence. To his girlfriend, he is strangely innocent and unreachable. To his case worker, he’s a victim of the system and of media! -driven hysteria.

And to himself, Jack is on permanent trial: He struggles to start from scratch, forget the past, become someone else.

A searing and heartfelt novel, Boy A won the Waverton Award for best first novel of 2004; the prestigious John Llewellyn Rhys Prize, for best book in the commonwealth by an author under 35; and The World Book Day Prize 2008 for the most discussion worthy novel by a living writer.

Boy A is now a Cuba Pictures/Channel 4 film starring Andrew Garfield and Peter Mullan. It is directed by John Crowley, produced by Lynn Horsford, and adapted for the screen by Mark O’Rowe. The US theatrical release is out now from The Weinstein Company.

Jonathan Trigell was born in Welwyn, England, in 1974. He has worked as a TV extra, an outdoor pursuits instructor, and a ski rep. He lives in Chamonix, France.

Feature Film 2001
Country - Canada
Run Time 99 minutes

Cast - Dylan Walsh, Kelly R! owan, Branden Nadon

Plot - A mysterious stranger, nip/tuck's! DYLAN W ALSH, finds an unlikely traveling companion in an orphan boy trying to dodge the authorities.

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.The "Boy Meets World" gang is back for the last of their adventures in the seventh and final season. Join Cory (Ben Savage) and the gang as they adapt to college and, even more so, life as adults. Cory and Topanga finally tie the knot and learn that living on their own isn’t as easy as they thought, Shawn and Angela get back together as a couple, Eric and Jack take on jobs in the real world, and the Matthews welcome a new addition to the family. Just when they think they’ve got it all figured out, unexpected surprises and newfound opportunities catch them off guard. Enjoy all 23 original episodes of Season 7 and relive the most endearing moments as Cory says good-bye in the final season."Boy Meets World" is back for Cory (Ben Savage) and the gang’s fresh! man year of college. Relive the funniest and most endearing moments as your favorite characters enter a new phase in their lives. Cory and Topanga learn to exist as an engaged couple, Shawn decides to continue his education, and Eric and Jack find the perfect new roommate. Just when they think they’re growing up, life only gets more complicated.

Disc 1
1. His Answer (Part 1)
2. His Answer (Part 2)
3. Ain’t College Great?
4. Friendly Persuasion
5. Better than the Average Cory
6. Hogs and Kisses
7. Everybody Loves Stuart
8. You’re Married, You’re Dead


Disc 2
9. Poetic License: An Ode to Holden Caulfield
10. And In Case I Don’t See Ya
11. Santa’s Little Helpers
12. Cutting the Cord
13. We’ll Have a Good time Then
14. Getting Hitched
15. Road Trip
16. My Baby Valentine


Disc 3
17. Resurrection
18. C! an I Help To Cheer You?
19. Bee True
20. The Truth! About H onesty
21. The Psychotic Episode
22. State of the Unions
Being the good girl isn’t all it’s cracked up to be. Ashton Gray has grown weary of playing the part to please her parents, and to be worthy of the town’s prince charming, Sawyer Vincent. Maybe That’s why she’s found herself spending time with Sawyer’s cousin, Beau, while he’s away for the summer camping with his family. Beau is nothing like her perfect boyfriend. He’s the sexiest guy she’s ever seen, dangerous in ways she’s only day dreamed about, and the one guy she should stay away from.
Beau never envied Sawyer his loving parents, his big nice home, or his position as quarterback. He loves him like a brother. Which is why he's tried everything in his power to keep his distance from Sawyer’s girlfriend. Even if he has loved her since the age of five, Ashton is Sawyer’s girl, so therefore she’s off limits. But when Sawyer leaves for the summer, Ashton, the one girl B! eau would move Heaven and Earth for, decides she wants to get into trouble. Stabbing the one person who’s always accepted him and stood by him in the back, is the cost of finally holding Ashton Gray in his arms. Is she worth losing his cousin over?.... Hell Yeah.

approx: 63,000 wordsBeing the good girl isn’t all it’s cracked up to be. Ashton Gray has grown weary of playing the part to please her parents, and to be worthy of the town’s prince charming, Sawyer Vincent. Maybe That’s why she’s found herself spending time with Sawyer’s cousin, Beau, while he’s away for the summer camping with his family. Beau is nothing like her perfect boyfriend. He’s the sexiest guy she’s ever seen, dangerous in ways she’s only day dreamed about, and the one guy she should stay away from.
Beau never envied Sawyer his loving parents, his big nice home, or his position as quarterback. He loves him like a brother. Which is why he's tried everything in his pow! er to keep his distance from Sawyer’s girlfriend. Even if he! has lov ed her since the age of five, Ashton is Sawyer’s girl, so therefore she’s off limits. But when Sawyer leaves for the summer, Ashton, the one girl Beau would move Heaven and Earth for, decides she wants to get into trouble. Stabbing the one person who’s always accepted him and stood by him in the back, is the cost of finally holding Ashton Gray in his arms. Is she worth losing his cousin over?.... Hell Yeah.

approx: 63,000 words

Read more »

Head Over Heels (Marine, Book 1)

• ISBN13: 9780380819171
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Breaking rules and breaking hearts

Free-spirited Chloe lives life on the edge. Unlike her soon-to-be married sisters, she isn't ready to settle into a quiet life running their family's newly renovated inn. But soon her love of trouble--and trouble with love-draws the attention of the very stern, very sexy sheriff who'd like nothing better than to tame her wild ways.

Suddenly Chloe can't take a misstep without the sheriff hot on her heels. His rugged swagger and his enigmatic smile are enough to make a girl beg to be handcuffed. For the first time, instead of avoiding the law, Chloe dreams of surrender. Can this rebel find a way to keep the peace with the straitlaced sheriff? Or wi! ll Chloe's colorful past keep her from a love that lasts . . . and the safe haven she truly wants in a town called Lucky Harbor?

Veronica Davis shook the dust of her hometown off her feet years ago, vowing never to return but family matters have brought her home, and a most unexpected love awaits. From award-winning writer Susan Andersen.

Read more »