Elite Squad

• An action-packed thriller that follows an elite police battalion (BOPE) tasked with cleaning up a drug-ridden Rio de Janeiro slum in advance of the pope's 1997 visit. A team of trained killers, they struggle to do what's right in a corrupt system and dangerous neighborhood. Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: NR Age: 796019815482 UPC: 79601981

Celebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God" are a place where combat photographers fear to tread, police rarely go and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye, the eye of an ! artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world and ultimately his way out!Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically ! immediate--that City of God prompted reforms in socioec! onomic p olicy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonCelebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God," are a place where combat photographers fear to tread, police rarely go, and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye: the eye of an artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world ... and ultimately his way out!Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a c! aptive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonSaint Augustin! e of Hippo is one of the central figures in the history of Chr! istianit y, and this book is one of his greatest theological works. Written as an eloquent defense of the faith at a time when the Roman Empire was on the brink of collapse, it examines the ancient pagan religions of Rome, the arguments of the Greek philosophers and the revelations of the Bible. Pointing the way forward to a citizenship that transcends worldly politics and will last for eternity, this book is one of the most influential documents in the development of Christianity.

One of the great cornerstones in the history of Christian thought, The City of God is vital to an understanding of modern Western society and how it came into being. Begun in A.D. 413, the book's initial purpose was to refute the charge that Christianity was to blame for the fall of Rome (which had occurred just three years earlier). Indeed, Augustine produced a wealth of evidence to prove that paganism bore within itself the seeds of its own destruction. However, over the next thirteen years ! that it took to complete the work, the brilliant ecclesiastic proceeded to his larger theme: a cosmic interpretation of history in terms of the struggle between good and evil. By means of his contrast of the earthly and heavenly cities--the one pagan, self-centered, and contemptuous of God and the other devout, God-centered, and in search of grace--Augustine explored and interpreted human history in relation to eternity.Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted ! soul. With enough visual vitality and provocative substance to! spark h eated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff ShannonPaulo Morelli's film is a pacy, bloody thriller that pays warm tribute to a diverse cross-section of American directors including Quentin Tarantino and Michael Bay. Bullets zing across the screen, heavy artillery is deployed at all times, and Morelli makes great use of the twisty favela streets during some frantic chase sequence. Silva and Cunha, who both had roles in CITY OF GOD, carry the picture with impressive ease, and while CITY OF MEN isn't an official sequel to Meirelles's lauded picture, it does serve as a neat continuation of ! that film's unshakable portrayal of the violence that has beset so many young lives in the slums of Rio de Janeiro.Action-packed and fueled by Brazilian funk, City of Men returns the makers of City of God to the scene of their first success. In this case, the search for family supersedes the search for identity--not that there isn't a correlation between the two. Though produced by Fernando Meirelles, Paulo Morelli's feature isn't a sequel, but a follow-up to the four-season series of the same name. While Meirelles's movie takes place in Rio de Janeiro's past, Morelli's transpires in the present (not counting flashbacks from the show). Days away from turning 18, boyhood friends Acerola (Douglas Silva) and Laranjinha, a.k.a. Wallace (Darlan Cunha), grew up without fathers. Ace has a wife and child; Wallace has a steady girl. The duo gets along with the gang that rules their labyrinthine hillside neighborhood or favela, but hoodlum life holds little appea! l. Ace struggles to raise his young son--his security guard fa! ther was murdered during a robbery--while Wallace tries to track down the dad he never knew. With Ace's assistance, Wallace solves the mystery of his genealogy, but at great cost to their friendship (and lives). Despite the South American pedigree, City of Men suggests the South Central of Boyz N the Hood more than City of God. It's not that Morelli's kinetic film looks like John Singleton's more classically composed enterprise, but that it deals with similar inner-city concerns. That said, Silva and Cunha are every bit as charismatic as Ice Cube and Cuba Gooding Jr.--if not more so. --Kathleen C. FennessyAn action-packed thriller that follows an elite police battalion (BOPE) tasked with cleaning up a drug-ridden Rio de Janeiro slum in advance of the pope's 1997 visit. A team of trained killers, they struggle to do what's right in a corrupt system and dangerous neighborhood.Though José Padilha's action-packed crime drama won the top prize at the Berlin F! ilm Festival, a steady stream of controversy and acclaim has followed in its wake. Some critics have even accused the director of promoting fascism, while Padilha (Bus 174) contends that Elite Squad argues against police brutality. Like Vic Mackey, who heads up The Shield's LA strike force, narrator Captain Nascimento (Wagner Moura) heads up Rio de Janeiro's Police Special Operations Battalion (BOPE). It’s 1997, the Pope arrives for a visit in six months, and BOPE will stop at nothing to reduce crime in the favelas. The way they see it, drug traffickers have them outmanned and outgunned, so there's no point in playing by the rules. With their black uniforms and berets, the Skulls certainly cut an imposing figure. New police recruits Neto (Caio Junqueira) and aspiring lawyer Matias (André Ramiro) turn to Nascimento when their efforts to operate by the book only lead to frustration (Matias was inspired by author/law student/BOPE member André Ba! tista). The burned-out captain sees his salvation in the two c! hildhood friends; as soon as he selects a replacement, he plans to leave the force and spend time with his pregnant wife. Nascimento may find his man, but the ending is far from happy. Brutal and bleakly funny, Elite Squad depicts 1990s Rio as Danté's Ninth Circle of Hell. Nonetheless, Brazilians made the film an even bigger sensation than City of God, to which it serves as an essential companion piece. --Kathleen C. Fennessy

America's Heart & Soul

• From sea to shining sea, from amber waves of grain to purple mountain majesties, it's not merely the land that makes America beautiful -- it's her people. Captured with stunning cinematography, AMERICA'S HEART & SOUL takes you on a journey that weaves across this great nation, revealing a rich tapestry of ordinary people living extraordinary lives as they follow their dreams with the f

Filmmaker louis schwartzberg hits the road to capture americas people and its natural beauty. Studio: Buena Vista Home Video Release Date: 02/07/2006 Run time: 88 minutes Rating: Pg

I Am Legend (Widescreen Single-Disc Edition)

• Robert Neville is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable, and man-made. Somehow immune, Neville is now the last human survivor in what is left of New York City and maybe the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone.

Academy Award® nominee Will Smith (Best Actor, The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman, Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress! , Monster) with similar powers to his and the key to his secret past.Hancock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman, Arrested Development), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of Hancock--from there, the movie takes several clever turns that shouldn't be revealed. Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree ! that may cause motion sickness), but it is an extremely entert! aining o ne. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too often takes itself all too seriously. --Bret Fetzer

Stills from Hancock (click for larger image)

Academy Award® nominee Will Sm! ith (Best Actor, The Pursuit of Happyness, 2006) stars ! in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman, Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress, Monster) with similar powers to his and the key to his secret past.Hancock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman, Arrested Development), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawl! ess behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of Hancock--from there, the movie takes several clever turns that shouldn't be revealed. Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too of! ten takes itself all too seriously. --Bret Fetzer
Ac! ademy Aw ard® nominee Will Smith (Best Actor, The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman, Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress, Monster) with similar powers to his and the key to his secret past.Hancock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman, Arrested Development), Ray decides to improve Hancock's image--st! arting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of Hancock--from there, the movie takes several clever turns that shouldn't be revealed. Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of! comedy, action, and drama. All in all, a smart subversive twi! st on a genre that all too often takes itself all too seriously. --Bret Fetzer

Stills from Hancock (click for larger image)

Academy Award® nominee Will Smith (Best Actor, The Pursuit of Happyness, 2006) stars in this action-packed comedy as Hancock, a sarcastic, hard-living and misunderstood superhero who has fallen out of favor with the public. When Hancock grudgingly agrees to an extreme makeover from idealistic publicist Ray Embrey (Jason Bateman, Juno), his life and reputation rise from the ashes and all seems right again--until he meets a woman (2003 Academy Award® winner Charlize Theron, Best Actress, Monster) wi! th similar powers to his and the key to his secret past.Han! cock turns the standard superhero movie inside-out: The title character (Will Smith) can fly, has superstrength, and is invulnerable, but he's also a sloppy, alcoholic jerk who causes millions of dollars in property damage whenever he bothers to fight crime. When he saves the life of a public-relations agent named Ray (Jason Bateman, Arrested Development), Ray decides to improve Hancock's image--starting by having Hancock surrender himself to the authorities and go to prison for his lawless behavior. The idea is that once he's in prison, the crime rate will go up, and people will start to realize Hancock might be of value after all. This is only the first act of Hancock--from there, the movie takes several clever turns that shouldn't be revealed. Hancock isn't a great movie (among other things, director Peter Berg overuses close-ups with a hand-held camera to a degree that may cause motion sickness), but it is an extremely entertaining one. The script, which! holds together far better than most superhero movies, has a propulsive plot, good dialogue, some compassion for its characters, and even an actual idea or two. The spectacular action at least gestures towards obeying the laws of physics, which actually makes the special effects more vivid. The three leads (Smith, Bateman, and Charlize Theron as Ray's wife, Mary) deftly balance the movie's mixture of comedy, action, and drama. All in all, a smart subversive twist on a genre that all too often takes itself all too seriously. --Bret Fetzer

Stills from Hancock (click for larger image)

Studio: Sony Pictures Home Ent Release Date: 11/16/2010 Rating: Pg13Studio: Sony Pictures Home Ent Release Date: 10/05/! 2010Robert Neville is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable, and man-made. Somehow immune, Neville is now the last human survivor in what is left of New York City and maybe the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone. Mutant victims of the plague -- The Infected -- lurk in the shadows... watching Neville's every move... waiting for him to make a fatal mistake. Perhaps mankind's last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But he knows he is outnumbered... and quickly running out of time.Will Smith stars in the third adaptation of Richard Matheson’s classic science-fiction novel about a lone human survivor in a post-apocalyptic world dominated by vampires. This new version somewhat alters Math! eson’s central hook, i.e., the startling idea that an ordina! ry man, Robert Neville, spends his days roaming a desolated city and his nights in a house sealed off from longtime neighbors who have become bloodsucking fiends. In the new film, Smith’s Neville is a military scientist charged with finding a cure for a virus that turns people into crazed, hairless, flesh-eating zombies. Failing to complete his work in time--and after enduring a personal tragedy--Neville finds himself alone in Manhattan, his natural immunity to the virus keeping him alive. With an expressive German shepherd his only companion, Neville is a hunter-gatherer in sunlight, hiding from the mutants at night in his Washington Square town house and methodically conducting experiments in his ceaseless quest to conquer the disease.

The film’s first half almost suggests that I Am Legend could be one of the finest movies of 2007. Director Francis Lawrence’s extraordinary, computer-generated images of a decaying New York City reveal weeds growing through the crack! s of familiar streets that are also overrun by deer and prowled by lions. It’s impossible not to be fascinated by such a realistically altered cityscape, reverting to a natural environment, through which Smith moves with a weirdly enviable freedom, offset by his wariness over whatever is lurking in the dark of bank vaults and parking garages. Lawrence and screenwriters Mark Protosevich and Akiva Goldsman wisely build suspense by withholding images of the monsters until a peak scene of horror well into the story. It must be said, however, that the computer-enhanced creatures don’t look half as interesting as they might have had the filmmakers adhered more to Matheson’s vampire-nightmare vision. I Am Legend is ultimately noteworthy for Smith’s remarkable performance as a man so lonely he talks to mannequins in the shops he frequents. The film’s latter half goes too far in portraying Smith’s Neville as a pitiable man with a messianic mission, but this lapse ! into bathos does nothing to take away from the visual and dram! atic acc omplishments of its first hour. --Tom Keogh

Trademark Silver Survival Knife With Survival Gear Knives, Silver

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A beautiful bride, a handsome groom, and a private cruise. What could possibly go wrong? How about a hurricane, one stranded yacht, a few useless, scantily clad bridesmaids and an equal number of horny groomsmen?


In the midst of it all, maid of honor, Gillian Marlboro, wonders if Jamie Foster could be not only the groom’s best man, but also the man for her. Would the universe be so cruel as to hand her the perfect man and then let them both perish on an island that provides no fresh water and only Mother Nature’s aphrodisiacs for sustenance?A beautiful bride, a handsome groom, and a private cruise. What could possibly go wrong? How about a hurricane, one stranded! yacht, a few useless, scantily clad bridesmaids and an equal number of horny groomsmen?


In the midst of it all, maid of honor, Gillian Marlboro, wonders if Jamie Foster could be not only the groom’s best man, but also the man for her. Would the universe be so cruel as to hand her the perfect man and then let them both perish on an island that provides no fresh water and only Mother Nature’s aphrodisiacs for sustenance?The Full Tilt Survival knife is a dream knife for just about anybody. Dressed in silver, designed to do “business” it holds no surprises or setbacks. Just a super-strong blade, 440 stainless steel. From first impression, you know what its designed for, and it will do just that â€" what you ask of it. The overall length is 12 inches from head to toe, the blade is almost 6 inches, which means you get plenty of handle to hold onto when you are “at work”Hidden hollow handle with a compassmatches, needles, fishing hook and lineleather like ! sheath with belt loopBlade sharpening stone w special pocket o! n sheath The blade is partially serrated, allowing an expanded repertoire of functions. Steel pommel, capable of delivering deadly blows with a durable back rubber handle. Does what it looks like it can do.

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Gran Torino

• GRAN TORINO (DVD MOVIE)

A disgruntled Korean War vet, Walt Kowalski (Eastwood), sets out to reform his neighbor, a young Hmong teenager, who tried to steal Kowalski's prized possession: his 1972 Gran Torino.Clint Eastwood's Gran Torino, an unassuming picture shot during a post-production lull on his elaborate period piece Changeling, was quietly rolled out at Christmastime 2008, whereupon it proceeded to blow away all the Oscar-bait behemoths at the box office and win its 78-year-old star the best reviews of his acting career. Both film and performance are consummately sly--coming on with deceptive simplicity, only to evolve into something complex, powerful, and surprisingly tender. Just as Unforgiven was a tragic reflection on Eastwood's legacy in the Western genre, Gran Torino caps and eloquently critiques the urban heritage of Dirty Harry and his violent ! brethren. And on top of that, the movie becomes a savvy meditation on America in a particular historical moment, racially, economically, spiritually. Call it a "state of the union" message. But call it that with a wry grin.

The latest Dirty Harry is actually a grumpy Walt: Walt Kowalski (Eastwood playing his own age), widower, Korean War veteran, retired auto worker, and the last white resident of his Detroit side street. It's hard to say who irks him more--his blood kin (a pretty lame bunch) or the Hmong families who are his new neighbors. Kowalski's a racist, because it has never occurred to him he shouldn't be. Besides, that's the flipside of the mutual ethnic baiting that serves as coin of affection for him and his working-class buddies. Circumstances--and two young people next door, the feisty Sue (Ahney Her) and her conflicted brother Thao (Bee Vang)--contrive to involve Walt with a new community, and anoint him as its hero after he turns his big guns on some ruffi! ans. The trajectory of this may surprise you--several times ov! er. East wood opted to film in economically blighted Detroit--a shrewd decision, but it's his mapping of Walt's world in that classical style of his that really counts. Every incidental corner of lawn, porch, and basement comes to matter--and by all means the workshop/garage that houses the mint-condition Gran Torino which Walt helped build in a more prosperous era. This is a remarkable movie. --Richard T. Jameson

Bailey's Billion$

• Sweet and savvy talking golden retriever, Bailey (the voice of Jon Lovitz The Stepford Wives, The Wedding Singer), is one doggone lucky pooch when his devoted owner, Constance Pennington, leaves him her entire billion-dollar fortune. Bailey is lucky, that is, until he becomes the target of an elaborately-designed dognap scheme hatched by Constance's nasty nephew Caspar (Tim Curry The Rocky Horror

BAILEY'S BILLIONS - DVD Movie

Behind the Sun

• ISBN13: 9781439213544
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Golden Globe Award Nominee for Best Foreign Language Film, BEHIND THE SUN is a critically acclaimed story about love, loyalty, and the choice a son must make between honoring his family and following his heart. In the brutal Brazilian badlands of 1910, two families are locked in a bloody, generations-old feud. In one family, the oldest remaining son, distressed by the prospect of death and encouraged by his younger brother -- begins to question the cycle of violence. Then a beautiful young woman crosses his path and opens his eyes to life outside his culture's rigid code of honor. Stunningly photographed and exquisitely told, this outstanding motion picture masterpiece will transport you to a vastly di! fferent place and time ... a place somewhere "behind the sun"!Behind the Sun is a rapturous Western, a big film about a big, unwanted destiny visited upon a vulnerable, young hero. Adapted from the novel Broken April by Albanian writer Ismail Kadare (the story has been transferred from Europe to Brazil's rugged, northeastern badlands in 1910), Behind the Sun concerns two families and their long-running land war, which has robbed many a young man of his hope, love and, ultimately, life. Sent by his aggrieved father to avenge the slaying of an older brother, Tonho (Rodrigo Santoro), in torment, carries out his bloody, ancestral obligation and then proposes a truce between the families. Director Walter Salles (Central Station) aims to make a magnificently crafted, lush, and exotic epic told in broad strokes for art house aficionados, and he succeeds almost to a self-conscious fault. Still, there is nothing like a stirring, archetypal tragedy about! the endless repercussions of violence and the sacrifice of in! nocence to a dubious cause. --Tom KeoghNew set from dance/house artist. Includes the smash hits 'D on't Give Up' & 'Saltwater' plus a previously unreleased ambient mix of 'Saltwater' by The Thrillseekers. 2000 release. Standard jewel case.For some, outfits like producer Nick Bracegirdle's Chicane are not easy to swallow. Isolating the more jubilant properties of trance, the beat is a light bounce, levitating above club-dance brainlessness, sounding like a house music hybrid meant for sparkling sunshine instead of dark and sweaty warehouses. They exist in an idealized, pseudo-enlightened fairy tale filled with bright colors and youthful beauty. But that's not the problem. What rankles purists and picky fans is the audacity with which these "techno" artists go after the unconverted common folk, dragging electronic music out of its druggy, "in-crowd" pretensions. Bracegirdle and contemporaries like Olive, Sneaker Pimps, and BT (the last, most noticeably on his Movement in Sti! ll Life) are waging a turf war on the boundaries between techno and pop music, each using different tactics and borrowing from different sources. Chicane throws out an especially cutting salvo in the battle here, and it's a doozy. None other than Bryan Adams lends his raspy tenor to the subtle grooves and euphoric dreaminess of "Don't Give Up." It's one thing for Liam Gallagher to lend his pipes to a Chemical Brothers track, or for BT to tap Tori Amos for the ubiquitous club hit "Blue Skies," but Bryan Adams? Is this heresy? Or an ingenious use of vocal color that yields an incredibly hummable dance anthem? Maybe it's best not to analyze What It All Means. Just sit back and enjoy the summery grooves, trusting these ongoing musical inspirations to become whatever they need to be. --Matthew Cooke DVD-Behind The Sun by Open Doors FilmsBehind the Sun by Sue Nielsen follows Sally Burns and a team of elite experts when they are assigned to travel to a newly dis! covered planet on the opposite side of the Sun, one almost ide! ntical t o Earth in mass, orbit, and size. What they encounter challenges their beliefs about Earth history, its development, and the nature of reality itself. Facing sabotage, violence, and events and creatures of mythological scope, Sally and the team are unprepared for the shattering revelations they encounter. In the end, Sally and the others find that there is a greater fate waiting for them, one more profound than Sally, or anyone, could have ever imagined. Written in masterful prose and told in the best traditions of the sci-fi action genre, Behind the Sun builds on mythological and religious traditions, science, and pure imagination to create a world like no other. Populated with compelling characters and thrilling plot lines, Sue Nielsen has written a book that will grab you by the collar and not let go.

Zoo York Boys 2-7 Straight Core Hoody, Black, 6

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