The Anti-Christ

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Lars von Trier (Europa, Breaking the Waves, Dancer in the Dark) shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and womanâ€"a searing Willem Dafoe (Platoon, The Last Temptation of Christ) and Cannes best actress Charlotte Gainsbourg (Jane Eyre, 21 Grams)â€"retreat to a cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest! corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against age-old superstition; and a profoundly effective horror film.Lars von Trier's notorious Antichrist is a fascinating and extremely gruesome experiment that combines B-horror tropes with art film concepts and cinematography to question differences between high horror and low horror, if there are such categories. Like the best of Argento, namely Suspiria, Antichrist follows a strictly formulaic, minimalist, almost operatic script structure in which the story of a couple, played by Willem Dafoe and Charlotte Gainsbourg, grieve their dead son. The highly organized story, like a poem, has ample space for metaphors to form, dwell, and transform into overgrown mysteries, such as the decadent forest, Eden, where the couple retreat to their cabin to face demons. When the camera zooms in on a flower vase's murky water on the nightstand beside a bereft Gains! bourg, one senses the ensuing downward spiral.

While the ! film's p lot, marked by chapters named after stages of grief, like "Pain" and "Despair," is rooted in absolute realism, the film's glorious moments are in its fantasy. There is a talking fox, subtle hints at ghostly occurrences, and many scenes that express the uncanny. Moreover, Gainsbourg's character, obsessed with witchcraft as it relates to historical gynocide and misogyny, adds much to the film's depressing sensibility that wallows unapologetically in decrepitude and faulty, negative reasoning. Dafoe, who plays the psychologist treating his hallucination-plagued wife, does a remarkable job depicting a person struggling through loss with logic. Antichrist works because Dafoe and Gainsbourg create archetypal characters, functioning symbolically as Logic and Psychosis in a Freudian maze with no exit. That said, the violent conclusions in the film's third chapter, "Despair (Gynocide)," are grim, graphic, and very difficult to watch. Antichrist, like its sister film in ! violence portrayed artfully, Irreversible, has all the more shock value because of the archetypal symbolism it successfully establishes. --Trinie DaltonLars von Trier (Europa, Breaking the Waves, Dancer in the Dark) shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and womanâ€"a searing Willem Dafoe (Platoon, The Last Temptation of Christ) and Cannes best actress Charlotte Gainsbourg (Jane Eyre, 21 Grams)â€"retreat to a cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against ag! e-old superstition; and a profoundly effective horror film.Lar! s von Tr ier's notorious Antichrist is a fascinating and extremely gruesome experiment that combines B-horror tropes with art film concepts and cinematography to question differences between high horror and low horror, if there are such categories. Like the best of Argento, namely Suspiria, Antichrist follows a strictly formulaic, minimalist, almost operatic script structure in which the story of a couple, played by Willem Dafoe and Charlotte Gainsbourg, grieve their dead son. The highly organized story, like a poem, has ample space for metaphors to form, dwell, and transform into overgrown mysteries, such as the decadent forest, Eden, where the couple retreat to their cabin to face demons. When the camera zooms in on a flower vase's murky water on the nightstand beside a bereft Gainsbourg, one senses the ensuing downward spiral.

While the film's plot, marked by chapters named after stages of grief, like "Pain" and "Despair," is rooted in absolute realism, t! he film's glorious moments are in its fantasy. There is a talking fox, subtle hints at ghostly occurrences, and many scenes that express the uncanny. Moreover, Gainsbourg's character, obsessed with witchcraft as it relates to historical gynocide and misogyny, adds much to the film's depressing sensibility that wallows unapologetically in decrepitude and faulty, negative reasoning. Dafoe, who plays the psychologist treating his hallucination-plagued wife, does a remarkable job depicting a person struggling through loss with logic. Antichrist works because Dafoe and Gainsbourg create archetypal characters, functioning symbolically as Logic and Psychosis in a Freudian maze with no exit. That said, the violent conclusions in the film's third chapter, "Despair (Gynocide)," are grim, graphic, and very difficult to watch. Antichrist, like its sister film in violence portrayed artfully, Irreversible, has all the more shock value because of the archetypal symbol! ism it successfully establishes. --Trinie DaltonHere is! Friedri ch Nietzsche's great masterpiece The Anti-Christ, wherein Nietzsche attacks Christianity as a blight on humanity. This classic is essential reading for anyone wishing to understand Nietzsche and his place within the history of philosophy. "We should not deck out and embellish Christianity: it has waged a war to the death against this higher type of man, it has put all the deepest instincts of this type under its ban, it has developed its concept of evil, of the Evil One himself, out of these instincts-the strong man as the typical reprobate, the 'outcast among men.' Christianity has taken the part of all the weak, the low, the botched; it has made an ideal out of antagonism to all the self-preservative instincts of sound life; it has corrupted even the faculties of those natures that are intellectually most vigorous, by representing the highest intellectual values as sinful, as misleading, as full of temptation. The most lamentable example: the corruption of Pascal, who beli! eved that his intellect had been destroyed by original sin, whereas it was actually destroyed by Christianity!" -Friedrich Nietzsche

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Fade to Black: No Gi Chokes

• Vol 1: Darce Chokes
• Vol 2: Guillotines
• Vol 3: Peruvian Neckties
• Vol 4: Arm Triangles, Vol 5: Reverse Arm Triangles
• Vol 6: Gators

FADE TO BLACK takes a look at the rapper’s career, providing a backstage glimpse during the concert and showing how his last album was conceived. Narrated by Jay-Z himself, the film features notable guest performances by Beyonce, Missy Elliott, Mary J. Blige, R. Kelly, Pharrell Williams, Foxy Brown and appearances by P. Diddy and 2004 Grammy-winner Kanye West.Fade to Black is a document of Jay-Z’s self-proclaimed final concert; a grand affair that took place before a sold-out crowd at New York’s Madison Square Garden in November 2003. (But anyone who follows celebrity news knows that Jay-Z was out of retirement and back performing at the Garden just a year later.) Fade to Black is a legitimately powerful record of! a truly historic event in the annals of rap. Muttering offhand narration with typical bored, streetwise affect, Jay hails the concert as a momentous occasion for being the first time a hip-hop show was allowed to headline at the Garden.

It’s unlikely that the full impact of the live performances will hit home to viewers unfamiliar with Jay-Z and his Roc-A-Fella Records stable of artists. Another frustration is trying to identify the array of visitors who trade raps on Jay’s stage. Included in the star-studded lineup are Missy Elliott, Foxy Brown, Pharell, Ghostface Killah, Beanie Sigel, Memphis Bleek, and R. Kelly. One unmistakable figure--and we do mean figure--is Jay’s squeeze Beyonce, who raises the temperature and the roof with her skimpy outfit, flowing hair, soulful yowl, and sexed-up dance routine that leaves her boyfriend and the whole of Madison Square Garden slack-jawed with animal desire.

Twenty cameras captured the event, and some of the most powe! rful sequences are sweeping moves across the swirling, blissed! -out mas ses as they lip sync along in perfect unison with Jay-Z’s complex, profane, quick-witted raps. Less effective are intermittent cutaway segments that show the artist in various studio settings working up beats and rhymes. These amateurish home video breaks may give some insight to Jay’s perfectionism and dedication to his craft, but they detract from the visceral power of the beautifully executed performance footage. --Ted FryA mysterious figure has broken into Mayuri Kurotsuchi’s laboratory in the Seireitei. Using a scythe-like weapon, the intruder causes Mayuri to go mad and destroy his own lab equipment. Kenpachi rushes to the laboratory as the Seireitei becomes engulfed in a cloud of reishi. When Kenpachi arrives he is greeted by an even greater explosion of reishi that completely devastates the Seiretei. Rukia witnesses this catastrophe from a distance, when the two intruders approach her and use the same scythe that drove Mayuri mad. The intruders then abdu! ct Rukia as she feels something inside of her fade away. Meanwhile, in the World of the Living, Ichigo and Kon experience a strange disturbance and head to Kisuke Urahara’s shop for some answers. When Kisuke informs them about the destruction of the Seireitei, the two set out for the Soul Society. What awaits Ichigo in the devastated Seireitei, however, are Soul Reapers who seem to have lost all memory related to both him and Rukia. To make matters worse, the Soul Reapers witness Ichigo’s Hollowfication and suspect him of being the one responsible for the Seireitei’s destruction. Now on the run, Ichigo is forced into a lonely battle against the Soul Reapers who once fought alongside him. Overcoming countless obstacles, Ichigo finally finds Rukia, only to learn she is not herself. Ichigo must find out what happened to Rukia and try to save her before the two are forced to part ways forever!Director Noriyuki Abe and his artists pull out all the stops in Bleach the Mo! vie: Fade to Black (2008), the most dramatic and satisfyin! g of the theatrical features based on Tite Kubo's best-selling manga. A mistake in Captain Mayuri's research unleashes an explosion of serpentine creatures that bury a third of the Seireitei in a whitish gunk that imprisons anyone caught in it. An eerie-looking girl and a gaunt young man with a scythe capture Rukia, declaring they will destroy her memory so she can stay with them forever. Their power not only erases Rukia's memory, but makes everyone else forget she ever existed. Even Ichigo forgets her, until recollections of their first adventures trouble his dreams. Ichigo charges to the rescue, only to discover that no one in the Seireitei remembers him either--not even his close friends Renji and Hitsugaya. The ultimate source of all the trouble is a parasitic Hollow with a scythe-like tentacle that can sever memories. But Ichigo knows that friendship and loyalty transcend any obstacle a Hollow can create. His courage and unbreakable bonds with Renji, Hitsugaya, Uruhara, and es! pecially Rukia triumph over the sinister Hollow and its wraith-like slaves. Fade to Black boasts a stronger emotional punch than the first feature, Memories of Nobody, and more spectacular battles than the second, Diamond Dust Rebellion. The result is a high-energy yet moving film that will delight fans of the long-running Bleach series. (Rated "Teen," suitable for ages 13 and older: violence, grotesque imagery) --Charles SolomonA mysterious figure has broken into Mayuri Kurotsuchi’s laboratory in the Seireitei. Using a scythe-like weapon, the intruder causes Mayuri to go mad and destroy his own lab equipment. Kenpachi rushes to the laboratory as the Seireitei becomes engulfed in a cloud of reishi. When Kenpachi arrives he is greeted by an even greater explosion of reishi that completely devastates the Seiretei. Rukia witnesses this catastrophe from a distance, when the two intruders approach her and use the same scythe that drove Mayuri! mad. The intruders then abduct Rukia as she feels something i! nside of her fade away. Meanwhile, in the World of the Living, Ichigo and Kon experience a strange disturbance and head to Kisuke Urahara’s shop for some answers. When Kisuke informs them about the destruction of the Seireitei, the two set out for the Soul Society. What awaits Ichigo in the devastated Seireitei, however, are Soul Reapers who seem to have lost all memory related to both him and Rukia. To make matters worse, the Soul Reapers witness Ichigo’s Hollowfication and suspect him of being the one responsible for the Seireitei’s destruction. Now on the run, Ichigo is forced into a lonely battle against the Soul Reapers who once fought alongside him. Overcoming countless obstacles, Ichigo finally finds Rukia, only to learn she is not herself. Ichigo must find out what happened to Rukia and try to save her before the two are forced to part ways forever!Director Noriyuki Abe and his artists pull out all the stops in Bleach the Movie: Fade to Black (2008), the most dr! amatic and satisfying of the theatrical features based on Tite Kubo's best-selling manga. A mistake in Captain Mayuri's research unleashes an explosion of serpentine creatures that bury a third of the Seireitei in a whitish gunk that imprisons anyone caught in it. An eerie-looking girl and a gaunt young man with a scythe capture Rukia, declaring they will destroy her memory so she can stay with them forever. Their power not only erases Rukia's memory, but makes everyone else forget she ever existed. Even Ichigo forgets her, until recollections of their first adventures trouble his dreams. Ichigo charges to the rescue, only to discover that no one in the Seireitei remembers him either--not even his close friends Renji and Hitsugaya. The ultimate source of all the trouble is a parasitic Hollow with a scythe-like tentacle that can sever memories. But Ichigo knows that friendship and loyalty transcend any obstacle a Hollow can create. His courage and unbreakable bonds with Renj! i, Hitsugaya, Uruhara, and especially Rukia triumph over the s! inister Hollow and its wraith-like slaves. Fade to Black boasts a stronger emotional punch than the first feature, Memories of Nobody, and more spectacular battles than the second, Diamond Dust Rebellion. The result is a high-energy yet moving film that will delight fans of the long-running Bleach series. (Rated "Teen," suitable for ages 13 and older: violence, grotesque imagery) --Charles Solomon"I'm Jarret. Cody Jarret, understand?!" snarls Dennis Christopher (Breaking Away) in his best James Cagney. OK, he's no Rich Little, but as the movie-mad social misfit Eric Binford he makes a convincing media-saturated Norman Bates, and for a while his geeky fumblings and wounded vulnerability keep the film on track. He is a gofer for a B-movie studio, constantly bullied by his tough-guy coworker Mickey Rourke and his aunt, a bitter wheelchair-bound failed starlet who blames the boy for her misfortunes and never lets him forget it. His sanity alread! y precariously close to the edge, he flares up and becomes Richard Widmark in Kiss of Death, shoving dear auntie down the back stairs and forever losing himself in the characters of his favorite movies. It's the first of many movie-inspired murders, but the gimmick becomes repetitive and the film loses its focus in series of pre-Scream set pieces. Better is Eric's deluded romance with an Aussie Marilyn Monroe look-a-like. It's hard to understand what she sees in this jittery nerd who rattles off meaningless movie trivia like it was the meaning of life, but give Eric credit for wooing her as Laurence Olivier in The Prince and the Showgirl. Tim Thomerson gets to play both tough guy and sensitive social worker as the counselor who utters the immortal line: "Binford's not to blame, he's a victim of society!" --Sean AxmakerDanny Huston (Robin Hood, Clash of the Titans) stars with Oscar®-winner Christopher Walken (The Deer Hunter) in this twisting mys! tery-thriller of intrigue, seduction and murder. Arriving in p! ost-WWII Rome to re-kindle his failing career, movie star and director Orson Welles is immediately captivated by a ravishing young actress (Paz Vega, Spanglish). But when her stepfather is killed by an unknown assassin, Welles and his street-wise Italian driver/bodyguard (Diego Luna, The Terminal) are plunged into Rome’s chaotic criminal underworld, where nothing is what it seems, no one can be trusted and the truth…is the deadliest illusion of all.Fade to Black is the debut novel by award-winning short fiction writer and journalist Morgan Kearns. It is a tempestuous and witty love story, complete with dangerous twists and turns that keep the reader guessing until the very last page. Kate Callahan is a news reporter in Salt Lake City whose life seems to be perfect. Her attentive boyfriend, Jesse Vasquez, is determined to prove his love for her. But the day she steps through the doors of KHB as their newest reporter and meets photographer Rich Spencer, everything changes. There i! s something about the way he caresses her with his eyes, speaks to her without saying a word, and lights her skin aflame with a simple touch that makes her rethink everything she’s ever known. Ultimately, she is faced with an impossible choiceâ€"one that tears her heart in twoâ€"which becomes excruciating when fate steps in and decides for her. Walking along a mountain of heartache and regret, Kate struggles to find a world where love does conquer all.Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2009.Don't let tha! t classical-guitar-ish opening to "Fight Fire with Fire" fool ! you-- Ride the Lightning packs a heavy-metal wallop. While not as ambitious as the subsequent Master of Puppets, this early Metallica album is indubitably one of their best. Thematically, it explores death and dying from myriad points of view: nuclear war ("Fight Fire with Fire"), electric-chair execution (the title track), and drowning ("Trapped Under Ice"). Interestingly, the best track on this album is probably "Fade to Black," a slower, more introspective song about suicide. There's also "Creeping Death," which remains a concert favorite. An excellent mix of rapid-fire guitar riffs, rip-roaring solos, and singer James Hetfield's trademark growl, this is thrash metal at its finest. Very highly recommended. --Genevieve WilliamsDon't let that classical-guitar-ish opening to "Fight Fire with Fire" fool you--Ride the Lightning packs a heavy-metal wallop. While not as ambitious as the subsequent Master of Puppets, this early Metallica album is indubit! ably one of their best. Thematically, it explores death and dying from myriad points of view: nuclear war ("Fight Fire with Fire"), execution by electric chair (the title track), and drowning ("Trapped Under Ice"). Interestingly, the album's best track is "Fade to Black," a slower, introspective song about suicide. There's also "Creeping Death," which remains a concert favorite. An excellent mix of rapid-fire guitar riffs, rip-roaring solos, and singer James Hetfield's trademark growl, this is thrash metal at its finest. -- Genevieve Williams Brandon Quick teaches a HUGE variety of chokes in this 6 volume DVD set. The chokes you'll see here are the latest innovations of darces, peruvian neckties, guillotines, arm triangles, and gators and chances are your opponent hasn't seen most of these!

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How to lose friends and alienate people ~ MOVIE POSTER 11"x 17"

• High Quality Product
• Great Collectible
• Great Gift Item
• Brand New Item
• Perfect Wall décor

HOW TO LOSE FRIENDS AND ALIENATE PEOP - DVD MovieHow to Lose Friends and Alienate People may just be the first true British film--and a splendid one at that--to be set on American soil. The fearless actor Simon Pegg plays Sidney Young, a Fleet Street hatchet writer tapped to come to the States to join the literati, and glitterati, at a big, fat, glossy magazine--every resemblance of which to Vanity Fair is strictly intentional. Sidney is possibly the most annoying man in the Western world, tilting at nonexistent windmills. His character calls to mind many of the hapless charmers played by Hugh Grant--but Pegg, without Grant's raffish good looks, comes across as simply hapless. Which is perfect casting, since Sidney is supposed to be enormously aggravating, especia! lly when he first lands in New York. In his first few days in the city, Sidney puts off the first magazine colleague he met (Kirsten Dunst, in a top-flight comic turn), wears a wildly inappropriate T-shirt on his first day of work, spritzes fast food onto the designer white suit of a relative of the publisher, and picks up a tranny hooker. And things go downhill from there. On his first magazine assignment, Sidney, checking captions for a photo page, calls a powerful publicist. "Is he the fat one?" Sidney asks the publicist about one of her clients. Silence. "Well, is he the one with the wonky eye, then?" Pegg is a scream as Sidney, playing quite a different role than his starring one in Shaun of the Dead. Dunst is delicate but steely, and her comedic timing, under the deft direction of Robert B. Weide (Curb Your Enthusiasm), is spot on. Great supporting work, too, by editor Jeff Bridges, whose enthrallment to the power elite, and silver mane, channel Graydon ! Carter; by Gillian Anderson, as a take-no-prisoners publicist;! and by Megan Fox, a starlet cast as a bosom-heaving Mother Teresa. Sidney, and the film, will win you over, with a lot of laughter along the way.--A.T. HurleyThe movie tie-in edition of Toby Young's bestselling memoir of self-sabotage at Vanity Fair.

With a major motion picture of How to Lose Friends and Alienate People about to be released (starring Simon Pegg, Kirsten Dunst, and Jeff Bridges), there has never been a better time to savor this laugh-out-loud memoir from everyone's favorite "professional failurist." In his dishy assault on New York's A-list, How to Lose Friends and Alienate People, Toby Young lands a job at Vanity Fair--and proceeds to work his way down Manhattan's food chain.You'll Never Eat Lunch in This Town Again meets The Bonfire of the Vanities, as told by...a male Bridget Jones? And it all really happened.
In 1995 high-flying British journalist Toby Young left London for New York to become a co! ntributing editor at Vanity Fair. Other Brits had taken Manhattan--Alistair Cooke, Tina Brown, Anna Wintour--so why couldn't he?

But things didn't quite go according to plan. Within the space of two years he was fired from Vanity Fair, banned from the most fashionable bar in the city, and couldn't get a date for love or money. Even the local AA group wanted nothing to do with him.

How to Lose Friends and Alienate People is Toby Young's hilarious and best-selling account of the five years he spent looking for love in all the wrong places and steadily working his way down the New York food chain, from glossy magazine editor to crash-test dummy for interactive sex toys. A seditious attack on the culture of celebrity from inside the belly of the beast, How to Lose Friends and Alienate People is also a "nastily funny read." (USA Today)You'll Never Eat Lunch in This Town Again meets The Bonfire of the Vanities, as t! old by...a male Bridget Jones? And it all really happened.
! In 1995 high-flying British journalist Toby Young left London for New York to become a contributing editor at Vanity Fair. Other Brits had taken Manhattan--Alistair Cooke, Tina Brown, Anna Wintour--so why couldn't he?

But things didn't quite go according to plan. Within the space of two years he was fired from Vanity Fair, banned from the most fashionable bar in the city, and couldn't get a date for love or money. Even the local AA group wanted nothing to do with him.

How to Lose Friends and Alienate People is Toby Young's hilarious and best-selling account of the five years he spent looking for love in all the wrong places and steadily working his way down the New York food chain, from glossy magazine editor to crash-test dummy for interactive sex toys. A seditious attack on the culture of celebrity from inside the belly of the beast, How to Lose Friends and Alienate People is also a "nastily funny read." (USA Today)UK Import Blu-Ray/R! egion All pressing. Please note the special features are in the PAL format and not viewable on US PS3/standard Blu-Ray players. The main feature is viewable on all players however.How to Lose Friends and Alienate People may just be the first true British film--and a splendid one at that--to be set on American soil. The fearless actor Simon Pegg plays Sidney Young, a Fleet Street hatchet writer tapped to come to the States to join the literati, and glitterati, at a big, fat, glossy magazine--every resemblance of which to Vanity Fair is strictly intentional. Sidney is possibly the most annoying man in the Western world, tilting at nonexistent windmills. His character calls to mind many of the hapless charmers played by Hugh Grant--but Pegg, without Grant's raffish good looks, comes across as simply hapless. Which is perfect casting, since Sidney is supposed to be enormously aggravating, especially when he first lands in New York. In his first few days in the city, Sidn! ey puts off the first magazine colleague he met (Kirsten Dunst! , in a t op-flight comic turn), wears a wildly inappropriate T-shirt on his first day of work, spritzes fast food onto the designer white suit of a relative of the publisher, and picks up a tranny hooker. And things go downhill from there. On his first magazine assignment, Sidney, checking captions for a photo page, calls a powerful publicist. "Is he the fat one?" Sidney asks the publicist about one of her clients. Silence. "Well, is he the one with the wonky eye, then?" Pegg is a scream as Sidney, playing quite a different role than his starring one in Shaun of the Dead. Dunst is delicate but steely, and her comedic timing, under the deft direction of Robert B. Weide (Curb Your Enthusiasm), is spot on. Great supporting work, too, by editor Jeff Bridges, whose enthrallment to the power elite, and silver mane, channel Graydon Carter; by Gillian Anderson, as a take-no-prisoners publicist; and by Megan Fox, a starlet cast as a bosom-heaving Mother Teresa. Sidney, and the f! ilm, will win you over, with a lot of laughter along the way.--A.T. HurleyHow To Lose Friends & Alienate People is directed by Robert Weide (Curb Your Enthusiasm), produced by Stephen Woolley (The Crying Game) and Elizabeth Karlsen. Based on the bestselling memoir by Toby Young and screenplay by Peter Straughan. The soundtrack features Joey Ramone, Duffy, Motorhead, The Bees, Dusty Springfield, Nino Rota, Electrovamp, Guillemots, Leona Naess, The Kinks, Scissor Sisters, The Killers, Robyn and David Arnold. The cast is led by Simon Pegg (Shaun of the Dead), Kirsten Dunst (Spider-Man), Danny Huston (The Constant Gardener, ), Gillian Anderson (The X-Files), Megan Fox (Transformers), Max Minghella (Hippie Hippie Shake) and Jeff Bridges (The Big Lebowski).Brand New Product

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Fangoria Frightfest Presents - Fragile

• FRAGILE FANGORIA FRIGHTFEST PRESENTS (DVD MOVIE)

Maggie and Jones live with their teenage son, Rick, in The Hollows, a small town outside of New York City.  The cozy intimacy of the town is broken when Rick’s girlfriend, Charlene, mysteriously disappears.  The investigation has Jones, the lead detective on the case, acting strangely and Rick, already a brooding teenager, becomes even more withdrawn.  Maggie finds herself drawn in both as a trained psychologist and as a mother, walking a tightrope that threatens the stability of her family.  Determined to uncover the truth, Maggie pursues her own leads into Charlene’s disappearance and exposes a long-buried town secretâ€"one that could destroy everything she holds dear.

As the new night nurse at a soon to be abandoned children's hospital readies the last group of orphans to leave, it becomes increasingly clear that these are no! t normal children. Something living in the hospital, something the children call the mechanical girl; has a terrifying hold over them and will stop at nothing to keep them in the hospital with her forever.

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Conan O'Brien Poster - Can't Stop 2011 Movie Teaser Flyer 11x17 - CS

• Teaser Flyer to promote the Conan O'Brien Movie Can't stop
• Conan O'Brien Movie Can't Stop Promo Flyer
• Size 11 x 17 inches approx (28 x 43 cm)
• Window display/ Telephone Pole Flyer sized Poster

After a much publicized departure from hosting NBC's "Tonight Show," Conan O'Brien hit the road with a 32-city music-and-comedy show. "The Legally Prohibited From Being Funny on Television Tour" was O'Brien's answer to a contractual stipulation that banned his appearance on television, radio and the internet for six months following his last show. Filmmaker Rodman Flender's resulting documentary, CONAN O'BRIEN CAN T STOP, is an intimate portrait of an artist trained in improvisation, captured at the most improvisational time of his career.Even if Conan O'Brien were "Legally Prohibited from Being Funny on Television"--the official name of the 2010 tour featured in the documentary Conan O'Brien Can't Stop, he'd happily be a scofflaw. Longtime TV director Rodman Flender (Ugly Betty) captures both O'Brien's spontaneous humor in his standup comic tour around the United States, but also his rage. O'Brien briefly replaced Jay Leno as host of NBC's The Tonight Show, but ratings for the show plummeted. So NBC dropped O'Brien, and O'Brien got his revenge by selling out shows in 32 cities, featuring equal parts standup, monologue, and screed against NBC. "If there's ever been a time in my life when I could say 'the hell with it,' it would be now," O'Brien says early in the film, setting up his rage as well as finding a pretty good outlet for it. Those who wonder if there's a healthy--or even unhealthy--dose of anger behind most standup comics will see the answer in a largely unguarded O'Brien, captured with raw honesty by Flender, in Conan O'Brien Can't Stop. O'Brien is also joined at various points of the tour by Jim Carrey, Andy R! ichter, Steve Kroft of 60 Minutes (who gets an earful),! Eddie V edder, and others. And O'Brien does manage to be pretty funny, mostly in off-the cuff moments. But Conan O'Brien Can't Stop is notable mostly for O'Brien's willingness to be shown as the pot lid is starting to blow off the boiling pan. And that makes for incredibly gripping viewing. --A.T. HurleyAfter a much publicized departure from hosting NBC's "Tonight Show," Conan O'Brien hit the road with a 32-city music-and-comedy show. "The Legally Prohibited From Being Funny on Television Tour" was O'Brien's answer to a contractual stipulation that banned his appearance on television, radio and the internet for six months following his last show. Filmmaker Rodman Flender's resulting documentary, CONAN O'BRIEN CAN T STOP, is an intimate portrait of an artist trained in improvisation, captured at the most improvisational time of his career.Even if Conan O'Brien were "Legally Prohibited from Being Funny on Television"--the official name of the 2010 tour featured in the do! cumentary Conan O'Brien Can't Stop, he'd happily be a scofflaw. Longtime TV director Rodman Flender (Ugly Betty) captures both O'Brien's spontaneous humor in his standup comic tour around the United States, but also his rage. O'Brien briefly replaced Jay Leno as host of NBC's The Tonight Show, but ratings for the show plummeted. So NBC dropped O'Brien, and O'Brien got his revenge by selling out shows in 32 cities, featuring equal parts standup, monologue, and screed against NBC. "If there's ever been a time in my life when I could say 'the hell with it,' it would be now," O'Brien says early in the film, setting up his rage as well as finding a pretty good outlet for it. Those who wonder if there's a healthy--or even unhealthy--dose of anger behind most standup comics will see the answer in a largely unguarded O'Brien, captured with raw honesty by Flender, in Conan O'Brien Can't Stop. O'Brien is also joined at various points of the tour by Jim Car! rey, Andy Richter, Steve Kroft of 60 Minutes (who gets ! an earfu l), Eddie Vedder, and others. And O'Brien does manage to be pretty funny, mostly in off-the cuff moments. But Conan O'Brien Can't Stop is notable mostly for O'Brien's willingness to be shown as the pot lid is starting to blow off the boiling pan. And that makes for incredibly gripping viewing. --A.T. HurleyConan O'Brien Movie Can't stop flyer

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