Now Foods, Kid-cal Chewable Calcium, 100-Count

• Calcium Citrate, Magnesium & Vitamin D
• Serving Size: 2 Chewable Tablets
• Servings Per Container: 50

Sadly, far too many children do not get the recommended 800 to 1,300 mg of calcium they need to build and support healthy bones. And with this as our motivation, we are pleased to offer new NOW Kid Cal Chewables. These animal-shaped chewable lozenges have a great taste that kids will enjoy, making it easy for them to get the calcium they need to grow strong and healthy. Each 2-lozenge serving contains 200 mg of Calcium Citrate, 100 mg of Magnesium, 400 IU of Beta-Carotene, 200 IU of Vitamin D and 90 mg of Orange fruit extract. We've sweetened it with Xylitol and Fructose to give them a taste your children will enjoy, and used chelated minerals for greater assimilation and digestion. * These statements have not been evaluated by the FDA. This product is not intended to diagnose, t! reat, cure or prevent any disease.

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American Beauty [VHS]

• Condition: Used - Very Good

Marking the feature film directorial debut of award-winning theatre director Sam Mendes this funny moving and shocking journey through life in suburban America follows the trials and tribulations of Lester (Kevin Spacey) and Carolyn (Annette Bening) an upper-middle class couple whose marriage - and lives - are slowly unraveling. Lester s wife hates him his daughter Jane regards him with contempt and his boss is positioning him for the ax. So Lester decides to make a few changes in his life; the freer he gets the happier he gets which is even more maddening to his wife and daughter. But Lester is about to learn that the ultimate freedom comes at the ultimate price. Winner of five Academy Awards: Best Picture Director Actor Screenplay and Cinematography.System Requirements:Starring: Kevin Spacey Annette Bening Thora Birch Chris Cooper Peter Gallagher Mena Suvari and ! Wes Bentley. Directed By: Sam Mendes. Running Time: 122 Min. Color. This film is presented in "Widescreen" format. Copyright 2000 Universal Distribution Corp.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 667068538229 Manufacturer No: 65382From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.

It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Bu! rnham family joins the cinematic short list of great dysfuncti! onal Ame rican families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both! plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam SutherlandNoted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman's turn in The Blue Room, made his motion picture debut with this film about the dark side of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he's grown cynical and is convinced that he has no reason to go on. Lester's relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she's in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is con! stantly depressed, lacking in self-esteem, and convinced that ! she's un attractive. Her problems aren't helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn't the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. American Beauty was also the screen debut for screenwriter Alan Ball.From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harrie! d Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.

It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts L! ester into a sexual epiphany that blooms into a second adolesc! ence. An d an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam SutherlandAMERICAN BEAUTY: Noted theater director Sam Mendes, who was responsible for the acclaimed 1998 revival of Cabaret and Nicole Kidman's turn in The Blue Room, made his motion picture debut with this film about the dark si! de of an American family, and about the nature and price of beauty in a culture obsessed with outward appearances. Kevin Spacey plays Lester Burnham, a man in his mid-40s going through an intense midlife crisis; he's grown cynical and is convinced that he has no reason to go on. Lester's relationship with his wife Carolyn (Annette Bening) is not a warm one; while on the surface Carolyn strives to present the image that she's in full control of her life, inside she feels empty and desperate. Their teenage daughter Jane (Thora Birch) is constantly depressed, lacking in self-esteem, and convinced that she's unattractive. Her problems aren't helped by her best friend Angela (Mena Suvari), an aspiring model who is quite beautiful and believes that that alone makes her a worthwhile person. Jane isn't the only one who has noticed that Angela is attractive: Lester has fallen into uncontrollable lust for her, and she becomes part of his drastic plan to change his body and change his! life. Meanwhile, next door, Colonel Fitts (Chris Cooper) has ! spent a lifetime in the Marine Corps and can understand and tolerate no other way of life, which makes life difficult for his son Ricky (Wes Bentley), an aspiring filmmaker and part-time drug dealer who is obsessed with beauty, wherever and whatever it may be. THE VIRGIN SUICIDES: A dark comedy punctuated by moments of drama, The Virgin Suicides explores the emotional underpinnings of a family starting to come apart at the seams in 1970's Midwestern America. The Lisbons seem like an ordinary enough family; Father (James Woods) teaches math at a high school in Michigan, Mother (Kathleen Turner) has a strong religious faith, and they have five teenage daughters, ranging from 13-year-old Cecilia (Hannah Hall) to 17-year-old Therese (Leslie Hayman). However, the Lisbon family's sense of normalcy is shattered when Cecilia falls into a deep depression and attempts suicide. The family is shaken and Mother and Father seek the advice of psychiatrist Dr. Hornicker (Danny DeVito), who suggest! s the girls should be allowed to socialize more with boys. However, boys soon become a serious problem for Cecilia's sister Lux (Kirsten Dunst). Lux has attracted the eye of a high-school Romeo named Trip (Josh Hartnett), who assures Father of his good intentions. But Cecilia finally makes good on her decision to kill herself, throwing the Lisbons into a panic; and after attending a school dance, Trip seduces and then abandons Lux. The Lisbons pull their daughters out of school, as an emotionally frayed Mother keeps close watch over them. Meanwhile, Lux continues to attract the attentions of the local boys, and she responds with a series of clandestine sexual episodes with random partners as often as she can sneak out of the house. The debut feature from Sofia Coppola (whose father, Francis Ford Coppola, co-produced this film), The Virgin Suicides also features supporting performances from Scott Glenn and Giovanni Ribisi. The film was shown as part of the Directors Fortnigh! t series as the 1999 Cannes Film Festival.From its first glidi! ng aeria l shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.

It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Ja! ne (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--! and of blood. --Sam SutherlandDREAMWORKS, DSL1205, pal ! 2+4From its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.

It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuou! s teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimso! n, the color of roses--and of blood. --Sam SutherlandFr! om its f irst gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells us his story from beyond the grave.

It's an audacious start for a film that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous tee! naged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes, with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, th! e color of roses--and of blood. --Sam SutherlandExpande! d & rema stered (HDCD) version of the band's 1970 classic featuring many of the Dead's best-known songs plus 6 bonus tracks 'Truckin' (single version) & 5 live tracks 'Friend of the Devil', 'Candyman', 'Till The Morning Comes', 'Attics of My Life' & 'Truckin'. Digipak. Warner/Rhino. 2003. Who says discipline is a bad thing? No one who's heard American Beauty, the Dead's greatest studio achievement. Showcasing 10 concise, country-rooted gems that sound equally good whether you're hanging on the front porch in the afternoon or nursing a bottle after hours, this one could win over many an anti-Jerry. Bewildered by loss both personal and social--the hippie dream was quickly crashing by Beauty's 1970 release date--the band put its querulousness ("Box of Rain") and wry humor ("Truckin'") into the service of a masterwork. The most impressive cut of all may be "Ripple," Garcia's spiritual credo. --Rickey Wright Who says discipline is a bad thing? No one who's heard! American Beauty, the Dead's greatest studio achievement. Showcasing 10 concise, country-rooted gems that sound equally good whether you're hanging on the front porch in the afternoon or nursing a bottle after hours, this one could win over many an anti-Jerry. Bewildered by loss both personal and social--the hippie dream was quickly crashing by Beauty's 1970 release date--the band put its querulousness ("Box of Rain") and wry humor ("Truckin'") into the service of a masterwork. The most impressive cut of all may be "Ripple," Garcia's spiritual credo. --Rickey WrightFrom its first gliding aerial shot of a generic suburban street, American Beauty moves with a mesmerizing confidence and acuity epitomized by Kevin Spacey's calm narration. Spacey is Lester Burnham, a harried Everyman whose midlife awakening is the spine of the story, and his very first lines hook us with their teasing fatalism--like Sunset Boulevard's Joe Gillis, Burnham tells ! us his story from beyond the grave.

It's an audacious start! for a f ilm that justifies that audacity. Weaving social satire, domestic tragedy, and whodunit into a single package, Alan Ball's first theatrical script dares to blur generic lines and keep us off balance, winking seamlessly from dark, scabrous comedy to deeply moving drama. The Burnham family joins the cinematic short list of great dysfunctional American families, as Lester is pitted against his manic, materialistic realtor wife, Carolyn (Annette Bening, making the most of a mostly unsympathetic role) and his sullen, contemptuous teenaged daughter, Jane (Thora Birch, utterly convincing in her edgy balance of self-absorption and wistful longing). Into their lives come two catalytic outsiders. A young cheerleader (Mena Suvari) jolts Lester into a sexual epiphany that blooms into a second adolescence. And an eerily calm young neighbor (Wes Bentley) transforms both Lester and Jane with his canny influence.

Credit another big-screen newcomer, English theatrical director Sam Mendes,! with expertly juggling these potentially disjunctive elements into a superb ensemble piece that achieves a stylized pace without lapsing into transparent self-indulgence. Mendes has shrewdly insured his success with a solid crew of stage veterans, yet he's also made an inspired discovery in Bentley, whose Ricky Fitts becomes a fulcrum for both plot and theme. Cinematographer Conrad Hall's sumptuous visual design further elevates the film, infusing the beige interiors of the Burnhams' lives with vivid bursts of deep crimson, the color of roses--and of blood. --Sam Sutherland

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The Visitor

• Condition: New
• Format: DVD
• Anamorphic; Color; Dolby; DVD; HiFi Sound; NTSC; Surround Sound; THX; Widescreen

Frozen River is a dramatic feature film which takes place in the days before Christmas near a little-known border crossing on the Mohawk reservation between New York State and Quebec. Here, the lure of fast money from smuggling presents a daily challenge to single moms who would otherwise be earning minimum wage. Two women- one white, one Mohawk, both single mothers faced with desperate circumstances- are drawn into the world of border smuggling across the frozen water of the St. Lawrence River. Melissa Leo (21 Grams, The Three Burials of Melquiades Estrada, television's Homicide: Life on the Street) plays Ray, Misty Upham (Edge of America, DreamKeeper, Skins) plays Lila, and Oscar nominee Michael O'Keefe (The Great Santini, Caddyshack, Ironweed) plays the New York State Trooper who ultimately brings the two to justice.When her husband runs off with the payment for their new home, Ray (Melissa Leo, The Three Burials of Melquiades Estrada) turns to crime to keep herself and her two sons afloat. A chance encounter with Lila (Misty Upham, Edge of America), an equally desperate young Mohawk woman, leads Ray to smuggling illegal immigrants by driving across the frozen Hudson River onto tribal land. But with every trip, things go wrong in small and not-so-small ways, until Ray finds herself pushed into a more desperate corner than ever before. Leo delivers a gritty, restrained, but richly compelling performance; her raw face, beautiful but worn down by life, radiates a weary defiance. Frozen River has scenes as tense as any Hollywood thriller, but so grounded in the fully developed characters of these two women that the taut suspe! nse grips the full spectrum of your emotions. This is an impre! ssive de but by writer/director Courtney Hunt, featuring excellent supporting performances by Charlie McDermott (The Ten) as Ray's unhappy oldest son and Michael O'Keefe (The Great Santini) as a suspicious state trooper. --Bret Fetzer

Stills from Frozen River (click for larger image)

Frozen River is a dramatic feature film which takes place in the days before Christmas near a little-known border crossing on the Mohawk reservation between New York State and Quebec. Here, the lure of fast money from smuggling presents a daily challenge to single moms who would otherwise be earning minimum wage. Two women- one white, one Mohawk, both single mothers faced with desperate circumstances- are drawn into the world of border smuggling across the frozen water of the St. Lawrence River. Melissa Leo (21 Grams, The Three Burials of Melquiades Estrada, television's Homicide: Life on the Street) plays Ray, Misty Upham (Edge of America! , DreamKeeper, Skins) plays Lila, and Oscar ! nominee Michael O'Keefe (The Great Santini, Caddyshack, Ironweed) plays the New York State Trooper who ultimately brings the two to justice.When her husband runs off with the payment for their new home, Ray (Melissa Leo, The Three Burials of Melquiades Estrada) turns to crime to keep herself and her two sons afloat. A chance encounter with Lila (Misty Upham, Edge of America), an equally desperate young Mohawk woman, leads Ray to smuggling illegal immigrants by driving across the frozen Hudson River onto tribal land. But with every trip, things go wrong in small and not-so-small ways, until Ray finds herself pushed into a more desperate corner than ever before. Leo delivers a gritty, restrained, but richly compelling performance; her raw face, beautiful but worn down by life, radiates a weary defiance. Frozen River has scenes as tense as any Hollywood thriller, but so grounded in the fully developed characters of these two women t! hat the taut suspense grips the full spectrum of your emotions. This is an impressive debut by writer/director Courtney Hunt, featuring excellent supporting performances by Charlie McDermott (The Ten) as Ray's unhappy oldest son and Michael O'Keefe (The Great Santini) as a suspicious state trooper. --Bret Fetzer

Stills from Frozen River (click for larger image)

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Hailed as "one of the year's most intriguing dramas" (Claudia Puig, USA TODAY), The Visitor stars Richard Jenkins (Six Feet Under) in a perfect performance (Lisa Schwarzbaum, ENTERTAINMENT WEEKLY) as Walter, a disaffected college professor who has been drifting aimlessly through his life. When, in a chance encounter on a trip into New York, Walter discovers a couple has taken up residence in his apartment in the city, he develops an unexpected and profound connection to them that will change his life forever. As challenges arise for his tenants, Walter finds himself compelled to help his new friends, and rediscovers a passion he thought he had lost long ago. Th! e year's first genuine must-see film" (Ann Hornaday, THE WASHINGTON POST) about rediscovering life's rhythms in the most unexpected places A deeply moving drama built around longtime character actor Richard Jenkins, The Visitor is a simmering drama about a college professor and recent widower, Walter Vale (Jenkins), who discovers a pair of homeless, illegal aliens living in his New York apartment. After the mix-up is resolved, Vale invites the couple--a young, Syrian musician named Tarek (Haaz Sleiman) and his Senegalese girlfriend (Danai Gurira--to stay with him. An unlikely friendship develops between the retiring, quiet Vale and the vital Tarek, and the former begins to loosen up and respond to Tarek’s drumming lessons as if something in him waiting to be liberated has finally arrived. All goes well until Tarek is hauled in by immigration authorities and threatened with deportation. His mother, Mouna (Hiam Abbass), turns up and stays with Vale, sparking a renewe! d if subdued interest in courtship. But the wheels of injustic! e in imm igration crush all manner of hopes in post-9/11 America. Vale soon realizes his unexpected capacity for anger over Tarek’s plight, and the positive changes to his personal life that emerged from a deep involvement with his friend and Mouna, might be the only legacy he takes from this experience. Writer-director Thomas McCarthy has created a wonderfully measured story about change and renewal, and put it all on the shoulders of Jenkins, a largely unheralded but masterful performer whose time for renown has surely come. --Tom Keogh

Stills from The Visitor (click for larger image)

Beyond The Visitor

On Blu-ray

Soundtrac! k CD

Also directed by Tom McCarthy

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Appaloosa

• In Marshal Virgil Cole and deputy Everett Hitchs line of work, you shoot quick, you shoot clean, and you reload straightaway. No remorse. No looking back. No feelings. Feelings get you killed. Paired as rivals in A History of Violence, Ed Harris (who also directs, produces and co-scripts) and Viggo Mortensen stand together as longtime friends and for-hire peacekeepers Cole and Hitch in this charac

In Marshal Virgil Cole and deputy Everett Hitchs line of work, you shoot quick, you shoot clean, and you reload straightaway. No remorse. No looking back. No feelings. Feelings get you killed. Paired as rivals in A History of Violence, Ed Harris (who also directs, produces and co-scripts) and Viggo Mortensen stand together as longtime friends and for-hire peacekeepers Cole and Hitch in this character-driven, bullet-hard Western based on Robert B. Parkers novel. Blood will spill in the town called Ap! paloosa.The Western has been an endangered species, on and off, for something like 40 years now. Welcome to Appaloosa, Ed Harris's film of the Robert B. Parker novel--first because it exists at all, but even more because Harris as star, director, and co-screenwriter (with Robert Knott) has managed to bring it to the screen with no hint of fuss or strain, as if the making of no-nonsense, copiously pleasurable Westerns were still something Hollywood did with regularity. Harris plays Virgil Cole, one of those ace gunfighter-lawmen whose name need only be mentioned to make a saloon go still. Cole and his shotgun-toting partner Everett Hitch (Viggo Mortensen) accept a commission to enforce law and order in the New Mexico town of Appaloosa. That basically means protect it from rapacious rancher Randall Bragg (Jeremy Irons, looking right at home on the range), who murdered the previous town marshal like swatting a fly. Life becomes complicated when, about the time Bragg h! as been jailed to await trial, a fancy-dressing piano player c! alling h erself Mrs. French (Renée Zellweger) steps down off the train. Cole commences to have feelings, and as he ruefully reminds Hitch, "Feelin's can get ya killed."

In his second directorial effort (following the 2000 biopic Pollock), Harris takes his cue from novelist Parker's often deadpan-comic touch, allowing action and character to accumulate in accordance with an overall eccentric rhythm. (The film's main disappointment is that it would benefit from more running time to allow things to stew a bit longer, especially in the second half.) The character work is choice, from the moment Tom Bower, James Gammon, and Timothy Spall step into view as Appaloosa's civic leaders; the director's father Bob Harris contributes a cameo as a mellifluous-tongued circuit judge, and an age-thickened Lance Henriksen turns up midfilm as gunman Ring Shelton, trailing affability and menace. In collaboration with Dances With Wolves cameraman Dean Semler, Harris sets up shots an! d scenes in such a way that we often see into and out of Appaloosa's various buildings simultaneously, to excellent dramatic and atmospheric effect, and there's a thrillingly vertical dynamics to a scene involving a train at an isolated water stop. The action is lethal when it needs to be, but never dwelt upon. "That was over quick," Hitch observes after one gun battle. Cole's response says it all: "Everybody could shoot." --Richard T. Jameson

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Batman & Mr. Freeze: SubZero / Batman: Mask of the Phantasm

• Twice the fight: 2 feature-length Dark Knight adventures!Cold-blooded crime comes to Gotham City: Archvillain Mr. Freeze kidnaps Batgirl, and the Dark Knight and Robin scramble to rescue her before she?s forever iced in the animated chiller-thriller movie Batman and Mr. Freeze Subzero. Ultra-cool style and excitement continue in the theatrical feature Batman Mask of the Phantasm, where we meet a h

Twice the fight: 2 feature-length Dark Knight adventures! Cold-blooded crime comes to Gotham City: Archvillain Mr. Freeze kidnaps Batgirl, and the Dark Knight and Robin scramble to rescue her before she’s forever iced in the animated chiller-thriller movie Batman and Mr. Freeze Subzero. Ultra-cool style and excitement continue in the theatrical feature Batman Mask of the Phantasm, where we meet a hunted criminal named…Batman. Accused of murders carried out by a sinister masked figure, Batman is ! determined to clear his name. And that sets in motion a menacing, multi-layered tale filled with surprising revelations about our caped hero’s past. Expect the unexpected in "a mystery that is genuinely absorbing, suspenseful and moving" (Cincinnati Enquirer).

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Bring It On: Fight to the Finish

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

BRING IT ON - DVD MovieSunny, happy Torrance (Kirsten Dunst) is the new leader of the Toros, the cheerleading squad of Rancho Carne, an affluent San Diego high school that has lousy football players but one hell of a cheerleading team. National champions, they're the ones who bring in the bodies to the football games with their award-winning moves and sassy grace, and they're poised to take their sixth national cheer title. Torrance's new reign as cheer queen, though, is cut short when she discovers that her snotty, duplicitous forerunner was regularly stealing routines from the East Compton Clovers, the hip-hop influenced cheerleaders of a poor inner city school, and passing them off as the original work of the Toros. Scrambling to come up with a new routine for the Toros--and do the righ! t thing by giving the Clovers their due--Torrance butts heads with the proud and understandably wary Isis (Gabrielle Union), the leader of the Clovers, who wants nothing to do with a rich blond white girl, but does want to get her squad to the championships. Problem is, only one team can take home the national title. Who's it gonna be?

An unexpected box-office hit in the late summer of 2000, Bring It On is a smart, snappy teen comedy that bristles with good cheer (literally) and lively, down-to-earth characters. The story may be fairly predictable (who's going to win the big championship?), but director Peyton Reed and screenwriter Jessica Bendinger have fleshed out their characters with formidable strength and provided them with sharp dialogue. Dunst is a radiant comedian, projecting warmth, determination, sincerity, and a sublime airheadedness, and Union is an impressive dancer and counterpart to Dunst, matching her admirably despite her limited onscreen time.! An excellent young supporting cast rounds out the film, most ! notably Eliza Dushku (Faith of Buffy the Vampire Slayer) and Jesse Bradford (Steven Soderbergh's King of the Hill) as siblings new to Rancho Carne, who become Torrance's best friend and potential new boyfriend, respectively. All in all, a pleasantly surprising and intelligent teen movie. Don't miss the opening sequence, a hilarious send-up of all those high school cheerleading routines you had to sit through at boring pep rallies. --Mark EnglehartBring on the spirit, spunk and sass with everyone's favorite cheerleading series in the Bring It On
Collection! All four high-energy, fun Bring It On movies are here: Bring It On, starring Kirsten Dunst; the hilarious sequel Bring It On Again; the elecChristina Milian stars as sassy cheer captain Lina Cruz, whose world is turned upside-down when her family moves from the urban streets of East Los Angeles to the sunny beach town of Malibu. At her new school, Lina clashes with Avery, the ultra-competitive all-star chee! r captain, while also falling for Avery’s super-cute brother, Evan. Lina’s always been able to rise to a challenge, but can she create a new all-star squad, beat Avery at the Spirit Championships, and still keep her romance with Evan? Hot music, fierce competition and high-flyin’ fun continue in this all-new movie!Like its predecessors in the Bring It On franchise, Bring It On: Fight to the Finish focuses on a perky cheerleader who's taken out of her comfort zone and ends up excelling in her new environment. This time around, the focus is on Lina Cruz (singer Christina Milian), whose family moves from East Los Angeles to Malibu. The streetwise teen makes an instant frenemy of alpha female Avery (Rachele Brooke Smith)--also a cheerleader--at her new school. Never mind that the two girls don't get along. There's more drama when Lina and Avery's brother Evan (Cody Longo) fall for each other. Though Lina describes her new classmates as living "lifestyles! of the rich and annoying" and Avery refers to Lina and her La! tina fri ends as "illegal cheermigrants," the two really aren't that different. Both live for cheerleading and are super driven when it comes to their sport of choice. The viewer gets the impression that if both girls shared the same ethnicity (or at least a similar bank account), they'd be besties at school. The Bring It On franchise was spawned by Kirsten Dunst's hit film from 2000, which clearly had better writing and acting, as well as a larger budget to work with. While films like Bring It On: Fight to the Finish aren't going to win any awards, they do have an appeal to teenage girls and/or cheerleading fans. The plot really doesn't matter so much as the cheerleading choreography and the driving music behind it. And there's plenty of both in this production. --Jae-Ha Kim

Stills from Bring it On: Fight to the Finish (Click for larger image)

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Suspense Collection (Seven/Heat/Insomnia/The Devil's Advocate)

• 4 FILM FAVORITES: SUSPENSE COLLECTION (DVD MOVIE)

DEVIL'S ADVOCATE - DVD MovieToo old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money. Think of the story as a twist on John Grisham's The Firm, with the corporate evil made even more explicit. Reeves is wooden, and therefore doesn't seem to have much of a soul to lose, but he's really just our excuse to meet the devil. Pacino's the main attraction, g! leefully showing off his--and the Antichrist's--chops at perpetrating menace and mayhem. The film was directed by Taylor Hackford (Against All Odds, Dolores Claiborne). --Jim EmersonHotshot attorney accepts tempting offer from an elite New York law firm only to find himself fighting for his soul.
Genre: Suspense
Rating: R
Release Date: 7-SEP-2004
Media Type: DVDToo old for Hamlet and too young for Lear--what's an ambitious actor to do? Play the Devil, of course. Jack Nicholson did it in The Witches of Eastwick; Robert De Niro did it in Angel Heart (as Louis Cyphre--get it?). In The Devil's Advocate Al Pacino takes his turn as the great Satan, and clearly relishes his chance to raise hell. He's a New York lawyer, of course, by the name of John Milton, who recruits a hotshot young Florida attorney (Keanu Reeves) to his firm and seduces him with tempting offers of power, sex, and money. Think of ! the story as a twist on John Grisham's The Firm, with t! he corpo rate evil made even more explicit. Reeves is wooden, and therefore doesn't seem to have much of a soul to lose, but he's really just our excuse to meet the devil. Pacino's the main attraction, gleefully showing off his--and the Antichrist's--chops at perpetrating menace and mayhem. The film was directed by Taylor Hackford (Against All Odds, Dolores Claiborne). --Jim EmersonHeat, Seven, The Devil's Advocate, Insomnia HEAT INCLUDES: • Widescreen Format [16x9 2.4:1] • Theatrical Trailers • Languages & Subtitles: English & Français (Main Feature. Bonus Material/Trailer May Not Be Subtitled). SE7EN INCLUDES: • Widescreen Format [16x9 2.4:1] • Cast Biographies/Filmographies • Subtitles: English, Français & Español. THE DEVIL’S ADVOCATE INCLUDES: • Widescreen Format [16x9 2.4:1] • Commentary by Director Taylor Hackford • Over 30 Minutes of Deleted Scenes • Production Notes • Theatrical Trailers & TV Spots • Languages: English & Fran! çais • Subtitles: English, Français & Español (Main Feature. Bonus Material/Trailer May Not Be Subtitled). INSOMNIA INCLUDES: • Widescreen Format [16x9 2.4:1] • Additional Scene • 2 Commentaries: • Director Christopher Nolan (Commentary in Order of Shooting Sequence) • Hilary Swank, Production Designer Nathan Crowley, Editor Dody Dorn, Cinematographer Wally Pfister and Screenwriter Hillary Seitz • 4 Featurettes: • Day for Night: Making the Movie • 180°: A Conversation with Christopher Nolan and Al Pacino • In the Fog: Cinemtography and Production Design • Eyes Wide Open: The Insomniac’s World • Stills Gallery • Theatrical Trailer • Languages: English & Français (Dubbed in Quebec) • Subtitles: English, Français & Español (Main Feature. Bonus Material/Trailer May Not Be Subtitled).

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