Civic Duty Women's Sensation CDL500 Sneaker,Gunmetal Grey,9 M US

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Angry and depressed over losing his job, accountant Terry Allen (Peter Krause) begins to suspect his new, Middle Eastern neighbor is at the center of a terrorist conspiracy. Terry becomes obsessed about revealing the man's true identity and finally takes matters into his own hands ⦠with shocking results.Peter Krause (Six Feet Under) uses his everyman good looks to subversive effect in Civic Duty, an effective little thriller. Recently fired accountant Terry Allen (Krause) grows increasingly suspicious of his new neighbor, an Islamic student (Egyptian star Khaled Abol Naga) who keeps late hours. Allen's wife Marla (Kari Matchett, 24) believes he's being paranoid and their relationship crumbles under the pressur! e, which only leads Allen to obsess all the more about this possible terrorist--until he finally acts on his suspicions. As the confrontation escalates out of his control, Allen is forced deeper into a corner he never anticipated. Civic Duty is a lean, sinewy movie, making the most of its concise storyline and claustrophobic setting. Though the director tries perhaps a little too hard to insert some visual flash, this is essentially and actor's showcase. Krause, though not always the most expressive performer, does a good job of drawing the audience into his increasingly untrustworthy consciousness. Matchett and Naga turn in solid work, while Richard Schiff (The West Wing) is particularly strong as a doubtful FBI agent that Allen contacts. Civic Duty is more interested in psychology (and cinematic suspense) than politics, but it delves just enough into the issues around terrorism--What do we lose in the pursuit of security? What might drive a terrorist! to such horrific acts? How do we fight violence without being! consume d by it ourselves?--to give the movie some heft, something for an audience to chew on when it leaves. --Bret Fetzer

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The Motel

• Puberty sucks, and nobody knows it better than 13-year-old Ernest Chin (Jeffrey Chyau). As he watches guests come and go, Ernest finds himself forever stuck at his family's hourly-rate motel, where he divides his time between taking orders from his overbearing mom, cleaning up after whatever miscreants the motel may attract and longing for the girl of his dreams, 15-year-old Christine (Samanth

A group of over-achieving Asian-American high school seniors engage in some extra curricular crime.
Genre: Feature Film-Drama
Rating: R
Release Date: 1-MAR-2004
Media Type: DVDJustin Lin's well-received 2002 independent feature, Better Luck Tomorrow, is a strangely appealing story of the mysterious, somehow inexorable drift of an ultra-conscientious, Southern California high school senior, Ben (Parry Shen), toward a fateful interlude with crime. Though high! ly focused on impressing colleges with his thoughtful balance of excellent grades, energized volunteer work (as a translator), and varsity sports (warming the bench during basketball games), something about Ben appears to be unraveling. Perhaps it is an attraction to his out-of-reach lab partner (Karin Anna Cheung), or his growing attachment to hard cash, or simply the malaise that coats his every act of self-denial. In any case, he and a brood of fellow Asian American overachievers metamorphose into the local go-to gang of black-market thievery--all while keeping up their classes. Lin brings a fresh angle to the exhausted youth-crime genre, and clarifies, with no small wisdom, the distinction between building a future and living one's destiny. --Tom KeoghJustin Lin's well-received 2002 independent feature, Better Luck Tomorrow, is a strangely appealing story of the mysterious, somehow inexorable drift of an ultra-conscientious, Southern California high school! senior, Ben (Parry Shen), toward a fateful interlude with cri! me. Thou gh highly focused on impressing colleges with his thoughtful balance of excellent grades, energized volunteer work (as a translator), and varsity sports (warming the bench during basketball games), something about Ben appears to be unraveling. Perhaps it is an attraction to his out-of-reach lab partner (Karin Anna Cheung), or his growing attachment to hard cash, or simply the malaise that coats his every act of self-denial. In any case, he and a brood of fellow Asian American overachievers metamorphose into the local go-to gang of black-market thievery--all while keeping up their classes. Lin brings a fresh angle to the exhausted youth-crime genre, and clarifies, with no small wisdom, the distinction between building a future and living one's destiny. --Tom KeoghStudio: Paramount Home Video Release Date: 07/14/2009 Rating: RJustin Lin's well-received 2002 independent feature, Better Luck Tomorrow, is a strangely appealing story of the mysterious, somehow inex! orable drift of an ultra-conscientious, Southern California high school senior, Ben (Parry Shen), toward a fateful interlude with crime. Though highly focused on impressing colleges with his thoughtful balance of excellent grades, energized volunteer work (as a translator), and varsity sports (warming the bench during basketball games), something about Ben appears to be unraveling. Perhaps it is an attraction to his out-of-reach lab partner (Karin Anna Cheung), or his growing attachment to hard cash, or simply the malaise that coats his every act of self-denial. In any case, he and a brood of fellow Asian American overachievers metamorphose into the local go-to gang of black-market thievery--all while keeping up their classes. Lin brings a fresh angle to the exhausted youth-crime genre, and clarifies, with no small wisdom, the distinction between building a future and living one's destiny. --Tom KeoghPuberty sucks, and nobody knows it better than 13-year-old Ernest C! hin (Jeffrey Chyau). As he watches guests come and go, Ernest ! finds hi mself forever stuck at his family's hourly-rate motel, where he divides his time between taking orders from his overbearing mom, cleaning up after whatever miscreants the motel may attract and longing for the girl of his dreams, 15-year-old Christine (Samantha Futerman, MEMOIRS OF A GEISHA). When charismatic Sam Kim (Sung Kang, PEARL HARBOR, BETTER LUCK TOMORROW, THE FAST AND THE FURIOUS: TOKYO DRIFT) checks into the motel, fatherless Ernest is taken under his wing and hustled toward manhood, for better or worse. THE MOTEL is an honest portrait of adolescence as heartfelt and authentic as it is hilarious.Winner of the Humanitas Prize at Sundance 2005, The Motel is a charming feature debut by writer/director Michael Kang. Between Kang and producer Gina Kwon (Me and You and Everyone We Know), this chronicle of adolescent sexual exploration shares the clean, contemporary look of Miranda July's film, and also Dayton/Faris's recent release, Little Miss Sunshine. Interestingly, all three examinations of humanity's awkwardness star nerdy, charismatic children. Punctuated by spare dialogue, The Motel follows Ernest (Jeffrey Chyau), a thirteen year-old Chinese American boy whose family runs a roach motel primarily visited by prostitutes and druggies. Ernest's mother and grandfather strictly enforce their depressing traditional family work ethic, squashing Ernest's hopes of winning a writing contest that he has secretly entered, for example. As Ernest cleans scummy rooms, he discovers porno magazines and other evidence of raunchy sexual escapades. Intrigued but shy about his sexual prospects, Ernest casually enlists his semi-girlfriend, Christine (Samantha Futerman) to explore magazine images with him. Funny, touching scenes of Ernest with his little sister's stuffed toy bunny, to name one, remind the viewer of that curious age when sex is mysterious but tangible. When renegade adult, Sam Kim (Sung Kang), moves into the motel! to drink and cavort with women, Ernest befriends him and take! s tips. Eventually Ernest realizes that he's a gentleman as he begins to understand the subtleties of love. In this film marked by sincerity, one can't help but think of the protagonist's name metaphorically. --Trinie Dalton

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Hollywood Dreams

• Set in the city of angels and featuring wonderful performances by David Proval, Karen Black, Zack Norman, Melissa Leo, Keaton Simons and Sabrina Jaglom, Hollywood Dreams spins the tale of a young girl fresh off the bus from Iowa (The Astonishing Tanna Frederick), who falls in love with a sexy and promising young actor (Justin Kirk) though their relationship threatens to complicate her own obsessi

Set in the city of angels and featuring wonderful performances by David Proval, Karen Black, Zack Norman, Melissa Leo, Keaton Simons and Sabrina Jaglom, Hollywood Dreams spins the tale of a young girl fresh off the bus from Iowa (the astonishing Tanna Frederick), who falls in love with a sexy and promising young actor (Justin Kirk) though their relationship threatens to complicate her own actor (Justin Kirk) though their relationship threatens to complicate her own obsessive goal of becoming a famous! actress, the film perfectly captures the delightful and desperate lives of those chasing dreams in Hollywood: one day they are shuffling down a boardwalk with too many suitcases, and the next they are lounging in contemporary hillside homes with a view of the city. Though neither state is permanent, the more desirable one fuels the dream. The story s extraordinary execution portrays Hollywood as the fantastic and insane place that it is. Only director Henry Jaglom could capture this classic story with such a deliberate and intense style that it feels entirely new.

-Lane Kneedler, American Film Institute

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Cold Creek Manor

• Finally putting an end to their days as slaves to the hustle-and-bustle of city life, Gothamites Cooper Tilson (Dennis Quaid) and his wife, Leah (Sharon Stone), pack up their kids and all their possessions and move into a recently repossessed mansion in the sticks of New York State. Once grand and elegant, the Cold Creek Manor is now a shambles, but Cooper and Leah have plenty of time to renovate.

COLD CREEK MANOR is a heart-pounding thriller that will keep you on the edge of your seat in tension-filled suspense. Wanting to escape city life for the saner, safer countryside, New Yorkers Cooper Tilson (Dennis Quaid), his wife Leah (1995 Golden Globe winner Sharon Stone, Best Actress, CASINO), and their two children move into a dilapidated old mansion still filled with the possessions of the previous family. Turning it into their dream house soon becomes a living nightmare when the previous owne! r (Stephen Dorff) shows up, and a series of terrifying incidents lead them on a spine-tingling search for clues to the estate's dark and lurid past.Turn off your brain and Cold Creek Manor just might turn into an entertaining thriller. Taking an uncharacteristic detour into nonsensical plot mechanics, director Mike Figgis expertly pushes buttons with this nerve-jangling but ultimately hackneyed story (by Richard Jeffries) about a documentary filmmaker (Dennis Quaid) who moves his wife (Sharon Stone) and two kids into a run-down rural mansion once owned by the family of a simmering ex-convict (Stephen Dorff), who's got secret reasons for wanting Quaid's family to leave. This rote potboiler wants to be as thrilling as Fatal Attraction, but it's more like Pacific Heights--fun to watch as the tension escalates with Dorff's violent behavior, but seriously flawed as plot holes proliferate. With a few good shocks and slinky support from Juliette Lewis, it's pe! rfectly enjoyable as a popcorn distraction, but maybe they sho! uld've c alled it Cold Creaky Manor instead. --Jeff Shannon

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Ghost Dog - Way of Samurai - Whitaker Jarmusch 11x17 Poster

• 11x17 INCHES

A black hitman goes by the name Ghost Dog and lives by the code of the samurai.
Genre: Feature Film Urban Action
Rating: R
Release Date: 21-OCT-2003
Media Type: DVDForest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated cod! e of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean AxmakerIndie film director Jim Jarmusch always works an unexpected angle, whether it's offbeat humor, a ! nonlinear narrative, or specific and idiosyncratic characteriz! ation. F or his latest film--the story of a ghetto hit man who lives by the codes of the Hagakure, an 18th-century Japanese warrior text--Jarmusch enlisted RZA, a founding member of the Wu-Tang Clan. Instead of imagistic tone poems that serve to reinforce a certain mood, à la Neil Young on Dead Man, RZA offers active gunplay that propels the film's narrative. The 11 tracks serve as an RZA-producer showcase, standing as independent pieces, regardless of the movie itself. Tracks vary from the subdued "4 Sho Sho," which interpolates Forest Whitaker's interior monologue with RZA's street visions, to the stuttering rhythms of Kool G. Rap's "Cakes." Tekitha's '70s disco groove for "Walkin' Through the Darkness" offers unexpected sensuality, while "The Man" by Masta Killah sets things back on the gangsta tip. --Rob O'Connor Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: T! he Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back in! to character-driven drama in a quietly epic showdown, equal pa! rts samu rai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean Axmaker

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Fight Club: A Novel

• ISBN13: 9780393327342
• Condition: New
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"'Fight Club' pulls you in, challenges your prejudices, rocks your world and leaves you laughing" (Rolling Stone). Brad Pitt ("12 Monkeys", "Seven"), Edward Norton ("Primal Fear," "American History X") and Helena Bonham Carter ("Mighty Aphrodite," "A Room With A View") turn in powerful "performances of which movie legends are made" (Chicago Tribune) in this action-packed hit. A ticking-time-bomb insomniac (Norton) and a slippery soap salesman (Pitt) channel primal male aggression into a shocking new form of therapy. Their concept catches on, with underground "fight clubs" forming in every town, until a sensuous eccentric (Bonham Carter) gets in the way and ignites an out-of control spiral toward oblivi! on.All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiraling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as other! s are attracted to their ways, they fight the men who come to ! join the ir newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist's control.

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. --Jenny Brown

The first rule about fight club is you don't talk about fight club.

Chuck Palahniuk's outrageous and startling debut novel that exploded American literature and spawned a movement. Every weekend, in the basements and parking lots of bars across the country, young men with white-collar jobs and failed ! lives take off their shoes and shirts and fight each other barehanded just as long as they have to. Then they go back to those jobs with blackened eyes and loosened teeth and the sense that they can handle anything. Fight club is the invention of Tyler Durden, projectionist, waiter, and dark, anarchic genius, and it's only the beginning of his plans for violent revenge on an empty consumer-culture world.

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City of Angels / Michael (Double Feature)

• Pragmatic heart surgeon Maggie doesn't believe in angels.until she meets one. That angel is Seth, who can remain a spiritual being and live forever. Or he can forsake his immortality on the chance that Maggie might love him. Nicolas Cage and Meg Ryan star in the rapturous and tender romance City of Angels [Side A]. Next, romantic comedy gets its wings in Michael [Side B]. John Travolta plays a di

Seth, an angel watching over Los Angeles, begins finding his job difficult as he falls in love with Maggie, a beautiful heart surgeon.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 14-SEP-2004
Media Type: DVDSome critics complained that City of Angels could never compare to Wim Wenders's exquisite German film Wings of Desire, which served as the later film's primary inspiration. The better argument to make is that any such comparisons are b! eside the point, because Wings of Desire was a much more deeply poetic, artfully contemplative film, whereas City of Angels is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from Wings of Desire, but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. --Jeff ShannonCITY OF ANGELS - DVD MovieSome critics complained that C! ity of A ngels could never compare to Wim Wenders's exquisite German film Wings of Desire, which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because Wings of Desire was a much more deeply poetic, artfully contemplative film, whereas City of Angels is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from Wings of Desire, but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul! mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998. --Jeff ShannonPragmatic heart surgeon Maggie doesn't believe in angels...until she meets one. That angel is Seth, who can remain a spiritual being and live forever. Or he can forsake his immortality on the chance that Maggie might love him. Nicolas Cage and Meg Ryan star in the rapturous and tender romance City of Angels [Side A]. Next, romantic comedy gets its wings in Michael [Side B]. John Travolta plays a disheveled, Heaven-sent angel who's just a little bit devilish as he tries to make the most of his terrestrial visit. Andie MacDowell co-stars as a member of a tabloid team that's eager to reel in a page-one story. Divine comedy!

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