Bringing Out the Dead

• Condition: New
• Format: DVD
• Anamorphic; Closed-captioned; Color; Dolby; DVD; Widescreen; NTSC

Forty-eight hours in the life of a burnt out paramedic who is haunted by the memories of people he could not save.
Genre: Feature Film-Drama
Rating: R
Release Date: 8-AUG-2006
Media Type: DVDMartin Scorsese comes home to the mean streets of New York with Bringing Out the Dead, the hyperkinetic tale of an ambulance driver (Nicolas Cage) on three sleep-deprived, adrenaline-fueled nights amongst the dead and dying of the city. Less a coherent narrative than a mood piece, the film is a welcome return to form for Scorsese, who takes Joe Connelly's memoir and spins it into a slightly surreal, darkly comic tale of one man's redemption. Frank Pierce (Cage) is a man who feels impotent in his job as an EMT--less a lifesaver, he's more of a grief ! mop as he sardonically puts it, bearing witness to the pain and suffering of others. Haunted by the specter of a young homeless girl, something stirs in Frank when he meets Mary (Patricia Arquette), the daughter of a heart attack victim Frank attends to. In a world where human interaction usually means putting someone on a stretcher, or bantering frenetically with his coworkers, Frank seems headed for certain physical and nervous collapse.

Scorsese, screenwriter Paul Schrader (of Taxi Driver and Raging Bull), and cinematographer Robert Richardson put a vivid spin on the New York of the early 90s with amazing visual flair and keen, economical storytelling. The film practically pulses with life, and hits the perfect note of ragged exhaustion. Cage, after a recent career slump, turns in an exceptional performance, by turns manic and weary. In fact, this is one of the best casts ever assembled for a Scorsese film: in addition to the quietly effective Arquette,! there are great performances by John Goodman, Ving Rhames, an! d Tom Si zemore as Cage's ambulance partners, as well as Mary Beth Hurt (as an ER doctor), pop star Marc Anthony (as a drug addict), and especially Cliff Curtis (as a drug dealer who winds up in an unusual scrape). It's not a masterpiece in the vein of Taxi Driver, but Bringing Out the Dead ranks as a stunning Scorsese joyride. --Mark Englehart

Carancho - Framed Movie Poster - 11 x 17 Inch (28cm x 44cm)

• You are looking at a beautiful, professionally framed poster.
• This frame is made specifically for 11 x 17 posters.
• Packaged and shipped in a sturdy corrugated box.
• Clean and sharp looking aluminum frame with clear plexiglass.
• This poster is from Carancho (2010)

Studio: Strand Releasing Release Date: 06/07/2011 Run time: 107 minutesThere is something criminalabout his dreamsProductInformationIn The Auro Espinoza is a taxidermist marked with strange qualities -a photographic memory and random fits of epilepsy.  To escapehis lonely everyday life he spends hi time lost in fantasy about theperfect heist.  When a fatal hunting accident presents agolden opportunity he takes the chance to put his plot into action.But living in a world of real violence might bring a lethal dose ofreality to Espinoza - and the beautiful young woman he's brought intohis plan.  Now he! must decide if criminal perfection is worththe ultimate price.Product Features The Making of "The Aura" Behind-the-Scenes: A Musical Montage Theatrical TrailerSpecificationsSpecifications: Stars:  Ricardo Dar?n ManuelRodal Dolores Fonzi Format:  Color DVD-VideoWidescreen Language:  Spanish Subtitles:  English Spanish Number of Discs: 1 Rating:  Not Rated Run Time:  138 minutes Directed By:  Fabian BielinskyThe Aura will go down in history as a great film with a tragic loss attached to it. This totally original and deeply involving thriller was the second and final feature film by Fabián Bielinsky, a gifted Argentinian writer-director whose debut feature, Nine Queens, earned global acclaim and introduced Bielinsky as a talent to watch. Sadly, Bielinsky died of a sudden heart attack in June 2006, at age 47, and we'll never know what other great films he might have made. The Aura stands as testament to Bielinsky's masterful skill, on full display ! in this riveting study of a sad and lonely taxidermist named E! spinosa (played by Ricardo Darín, who was also in Nine Queens) who compensates for his disappointing life by imagining elaborate crimes that he's planned to perfection. When a hunting accident results in the death of a criminal mastermind who'd been planning a casino heist, the taxidermist (who possesses a photographic memory and suffers from occasional blackouts caused by epileptic seizures) assumes the dead man's role, improvising his way through the crime-plot with untrustworthy partners and the constant threat of danger.

The film's title refers to the semi-conscious fugue state that precedes the taxidermist's epileptic seizures, inducing a sense of disorientation and dread that Bielinsky uses to deepen the film's psychological impact. Darín's dour, worried expression is a fascinating focal point for his character's unpredictable journey into the heart of darkness, and The Aura's primary setting, in the thick forest of Patagonia, is a perfect complement to the! film's ominous atmosphere and deliberately paced intrigue. As far-fetched as it may seem at times, the plot's heightened reality remains utterly convincing, and Bielinsky demonstrates an uncanny knack for escalating suspense in quietly intense situations. From start to finish, The Aura is clearly the work of a filmmaker with seemingly limitless potential, and we can only wonder about the excellent films Bielinsky would have made had he lived. Unfortunately, two slight DVD extras on The Aura give us no insight into Bielinsky's too-short career: the "making of" featurette is very brief and consists primarily of an interview with Ricardo Darín, and the behind-the-scenes musical montage is an equally short and perfunctory assembly of production video set to the moody, electronic tones of Lucio Godoy's subtly effective score. --Jeff ShannonAcademy Award® nominee Javier Bardem is Uxbal, a man on the wrong side of the law who struggles to provide for his ch! ildren on the dangerous streets of Barcelona. As fate encircle! s him, U xbal learns to accept the realities of life, whether bright, bad â€" or biutiful â€" in this unforgettable Academy Award®-nominated film from director Alejandro González Iñárritu (Amores Perros, 21 Grams and Babel).A heartbreakingly direct performance by Javier Bardem anchors Biutiful, a film from Mexican auteur Alejandro González Iñárritu (Babel, 21 Grams). Uxbal (Bardem) is not an admirable man: he's a criminal middleman, helping human traffickers and illicit street peddlers in Barcelona. But in the thick of his corrupt and compromised world, Uxbal strives to do some modest good: he demands heaters for the cold basement where illegal Chinese laborers sleep and he carefully scrapes together money for his children, whom he deeply adores. On top of all this, Uxbal can commune with the recently dead, and tries to pass on reassurance to the bereaved. When Uxbal himself is diagnosed with severe cancer, he desperately tries to leav! e behind something better for his children. This plot summary paints a bleak picture, and there's no question this is--much like Iñárritu's other films, including Amores Perros--an emotionally harrowing experience. But Biutiful is also visually rich and deeply humane, and holds moments of grace that can only be found in sadness and loss. The entire cast brings a fullness of life to all of the characters, no matter how briefly they appear, but Bardem almost never leaves the screen and carries the movie with magnetic force. --Bret FetzerA mans affair with his familys housemaid leads to a dark consequences. Studio: Mpi Home Video Release Date: 06/07/2011 Starring: Do-yeon Jeon Seo-hyeon Ahn Run time: 106 minutes Rating: Nr Director: Sang-soo Im Im Sang-sooCarancho Carancho Director: Pablo Trapero. Actores: Ricardo Darin, Martina Gusman, Carlos Weber, José Luis Arias, Loren Acuña, Gabriel Almirón. Música: Género: Drama, Thriller. Año: 2010. Duración: 107 min. Nacionalidad: Argentina, Chile, Francia, Corea del Sur. Calificación: NRM 16 años Imagen: Color - PAL - Widescreen 2.35:1 - 16:9. Audio: Español (Dolby Digital 5.1). Subtitulos: No Dispone. Región: 2. Edición: Normal Discos: 1 Distribuidora: Cameo MediaMovieGoods has Amazon's largest selection of movie and TV show memorabilia, including posters, film cells and more: tens of thousands of items to choose from. We also offer a full selection of framed and laminated posters. Customer satisfaction is always guaranteed when you buy from MovieGoods on Amazon.

Blood Work

• BLOOD WORK (DVD MOVIE)

When Graciella Rivers steps onto his boat, ex-FBI agent Terrell McCaleb has no idea he's about to come out of retirement. He's recuperating from a heart transplant and avoiding anything stressful. But when Graciella tells him the way her sister Gloria was murdered it leaves Terry no choice. Now the man with the new heart vows to take down a predator without a soul. For Gloria's killer shatters every rule that McCaleb ever learned in his years with the Bureau--as McCaleb gets no more second chances at life... and just one shot at the truth. Blood Work is now a major motion picture from Warner Bros. directed by and starring Clint Eastwood. The movie also stars Anjelica Huston and Jeff Daniels. Blood Work hit bestseller lists nationwide, including those of the New York Times, USA Today, Washington Post, Wall Street Journal, Los Angeles Times, and Dallas Morning News. It ha! s over 900,000 paperback copies in print.Michael Connelly has been attracting fans by the droves with his hard-boiled, edgy thrillers. A former crime reporter for the Los Angeles Times, Connelly combines a poet's ear for language with a deep understanding of the criminal mind to create dark, dramatic stories that raise the thriller genre to a new level.

In Blood Work, Connelly introduces a new character, Terry McCaleb, who was a top man at the FBI until a heart ailment forced his early retirement. Now he lives a quiet life, nursing his new heart and restoring the boat on which he lives in Los Angeles Harbor. Although he isn't looking for any excitement, when Graciela Rivers asks him to investigate her sister Gloria's death, her story hooks him immediately: the new heart beating in McCaleb's chest is Gloria's.

As McCaleb investigates the evidence in the case, the suspected randomness of the crime gives way to an unsettling suspicion of a twi! sted intelligence behind the murder. Soon McCaleb finds himsel! f on th e trail of a killer more horrifying than anything he ever encountered before. "A fast-paced and fascinating ride through a dark and devious period in science, Blood Work is a witty, insightful, and skillfully written book that sheds light on the mysterious story of blood transfusion." --Wendy Moore, author of The Knife Man

On a cold day in 1667, a renegade physician named Jean Denis transfused calf's blood into one of Paris's most notorious madmen. In doing so, Denis angered not only the elite scientists who had hoped to perform the first animal-to-human transfusions themselves, but also a host of powerful conservatives who believed that the doctor was toying with forces of nature that he did not understand. Just days after the experiment, the madman was dead, and Denis was framed for murder.

A riveting account of the first blood transfusion experiments in 17th-century Paris and London, Blood Work gives us a vivid glimpse of a particularly fraught peri! od in history--a time of fire and plague, empire building and international distrust, when monsters were believed to inhabit the seas and the boundary between science and superstition was still in flux. Amid this atmosphere of uncertainty, transfusionists like Denis became embroiled in the hottest cultural debates and fiercest political rivalries of their day. As historian Holly Tucker reveals, transfusion's detractors would stop at nothing--not even murdering Denis's patient--to outlaw a practice that might jeopardize human souls, pave the way for monstrous hybrid creatures, or even provoke divine retribution.

Taking us from the highest ranks of society to the lowest, from dissection rooms in palaces to the filth-clogged streets of Paris, Blood Work sheds light on an era that wrestled with the same questions about morality and experimentation that haunt medical science to this day.When Ivy met Rachel, the result wasn’t exactly love at first sight. Sparks fl! ew as the living vampire and the stubborn witch learned what i! t meant to be partners. Now Kim Harrison, the acclaimed author of Pale Demon and Black Magic Sanction, turns back the clock to tell the taleâ€"in an original full-color graphic novel.

Hot-as-hell, tough-as-nails detective Ivy Tamwood has been demoted from homicide down to lowly street-crime detail. As if rousting trolls and policing pixies instead of catching killers wasn’t bad enough, she’s also been saddled with a newbie partner who’s an earth witch. It’s enough to make any living vampire bare her fangs. But when a coven of murderous witches begins preying on werewolves, Rachel Morgan quickly proves she’s a good witch who knows how to be a badass.

Together, Ivy and Rachel hit the mean streets to deal swift justice to the evil element among Cincinnati’s supernatural set. But there’s more to their partnership than they realizeâ€"and more blood and black magic in their future than they bargained for.FBI profiler Terry McCaleb almost always ge! ts to the heart of a case. This time, that heart beats inside him. He’s a cardiac patient who received a murder victim’s heart. And the donor’s sister asks him to make good on his second chance by finding the killer. That’s just the first of many twists in a smart, gritty suspense thriller that’s “vintage Eastwood: swift, surprising and very, very exciting” (Jim Svejda, KNX/CBS Radio). Clint Eastwood produces, directs and stars in this edgy, acclaimed mystery based on Michael Connelly’s novel and scripted by Brian Helgeland (L.A. Confidential). With a superb cast brought to a hard boil playing characters to quicken your pulse and hold you spellbound, Blood Work works exceptionally well.Clint Eastwood's Blood Work is a refreshing reminder that Hollywood's young Turks can still learn a lesson from good old-fashioned craftsmanship. Settling into an easygoing groove that recalls his early work in Play Misty for Me, the 72-year-old producer-director! -star acknowledges his age by playing a retired FBI profiler a! nd recen t heart-transplant recipient. He's recruited by his heart donor's grieving sister (Wanda De Jesus) to find her dead sibling's killer, and personal obligation compels his dutiful but health-risking investigation. From a sharp, sensible script by L.A. Confidential Oscar® winner Brian Helgeland (from Michael Connelly's novel), Blood Work consistently plays to Eastwood's no-nonsense approach, elevating the mystery while giving Jeff Daniels (as Eastwood's neighbor and amateur sidekick) a substantial role in the suspenseful proceedings. Some may chuckle at a brief Eastwood-De Jesus love scene, but there's ample proof here that Clint's still got all the right moves. --Jeff Shannon

Uvex S8565 Bionic Shield Replacement Lens, Shade 5.0 Polycarbonate, Uncoated

• Shade 5.0 Infra-Dura Welding Shade For Cutting Operations
• Meets ANSI Z87+ (High Impact) And CSA Z94.3 Standards
• Made In USA
• Face Shield Offers Secondary Protection And Must Be Worn With Spectacles Or Goggles

5.0 TINT FACESHIELD

Baghead : Widescreen Edition

• Widescreen

Genre: Comedy
Rating: R
Release Date: 30-DEC-2008
Media Type: DVD

In their indie sensation The Puffy Chair, writer/directors Mark and Jay Duplass used the retrieval of a piece of furniture to explore the relationship between a close-knit trio. Their studio follow-up represents something both fresh and familiar. Not to be confused with the children's book of the same name, Baghead retains their emphasis on character over plot mechanics, but this time they infuse their humorous approach with horror overtones. Matt (Ross Partridge), Chad (Steve Zissis), Catherine (Elise Muller), and Michelle (Greta Gerwig, who appears with Mark Duplass in Hannah Takes the Stairs) work as extras in Los Angeles. Matt convinces them to accompany him to his family cabin to write a script in which they all get to star. As they collaborat! e, it becomes apparent that Chad has eyes for Michelle and that Matt and Catherine have been an on-and-off thing for years. The screenplay becomes an excuse to organize their personal and professional lives, until Michelle spots a man with a brown paper bag on his head skulking in the woods. Is he a manifestation of the emotions roiling between the quartet, a psychotic killer, or a friend playing a cruel trick? Baghead turns into a frisky take on The Blair Witch Project, except the Duplass Brothers have more than thrills in mind, since it takes a spooky dude to remind these self-absorbed actors about the importance of friendship. The concept may be slight and the execution rudimentary, but the makers of Baghead have devised an unexpectedly poignant romp. --Kathleen C. Fennessy

Amazon.com
What does one make of a movie whose plot revolves around second-rate actors who scare each other by wearing bags on their heads? This con! undrum and more are exploited to strong effect by young direct! ing team Mark and Jay Duplass, in their low-budget, grade Z cult comedy, Baghead. This follow up to their debut effort, The Puffy Chair, stars two couples who head to their parents’ cabin in an attempt to make their own horror film free from the constraints of the film industry. Brothers, Matt (Ross Partridge) and Chad (Steve Zissis), host bimbos Michelle (Greta Gerwig) and Catherine (Elise Muller) on a weekend adventure that is less than intellectually stimulating. As sexual tensions increase, brown paper bags are busted out and the characters seek revenge upon each other by pretending to be masked peeping toms. This meta-narrative of a movie about the making of the movie is further confused when the bunch suspects that there is an extra baghead on the scene, a really psychotic one. A few actually scary moments add gusto to this film that mostly feels like a po’ man’s rendition of Blair Witch Project, with its hand-held camera stylings. Highlights through! out involve Chad, the nerdier, uglier brother who manages many funny lines and boosts the humor bigtime. That Baghead is a fairly terrible film, with slow, moronic dialogue and long scenes in which little or nothing happens, may well be intentional. It’s impossible to judge. Baghead is so ripe with irony that it bags the idea that it’s cool to strive towards making a fine film, and the story gives up on trying to be good before it even tries. The characters start washed-up and stay washed-up, as does the movie. But this strange resignation that makes Baghead awful is also what makes it conceptually unique; the Duplass brothers did, after all, complete the film and release it. One wonders why directors bother making a movie that presumes itself worthy of wearing a baghead? This is Baghead’s virtueâ€"it left me feeling as if I had a bag over my head, dumb for missing some bit of subversive genius. --Trinie Dalton

---

Filmmakers Mark and Jay Duplass h! ave writ ten a celebrity blog for us to promote their new film, Baghead.

Why the hell are we trying to make a horror film about a guy with a paper bag on his head? This, even more than “to be or not to be” was the question for myself and my brother Jay going into shooting Baghead. We had just come off of our first micro-budget feature The Puffy Chair, a sensitive, funny, quirky relationship movie that wowed Sundance, sold big, played incredibly well in theaters, DVD, and TV, and gained us favor in the indie world the world over. So, again, why would we be so stupid as to make a horror movie based around a guy with a bag on his head?

I’m still not quite sure. When I look back, what we should have done is clear… we should ! have made another relationship movie to cash in on Puffy’s success. But, we were compelled to make Baghead, so we did it. And then something really interesting happened. We discovered that we are hopelessly and helplessly ourselves on set. For example, even if something terrifying was happening in the horror plot, we couldn’t help training the camera on all of the little personal dynamics happening among the 4 lead characters, just like we did on The Puffy Chair. No matter how eerie or cool-looking our lighting got, we were infinitely more obsessed with the chubby guy whose advances were being rejected by the hottie girl.

About a week into filming, we realized we had something VERY different on our hands. We had a horror movie shell… “guy with bag on head comes to get 4 people in a cabin in the woods.” We all know this set-up, right? Not too original. But, we were making a highly sensitive relationship dramedy inside of this ! horror film because, in the end, that’s what Jay and I know ! how to d o best and that’s what we love showing.

So, basically, we started panicking. How do you make a movie work that’s scary, funny, and (ultimately) endearing and touching as we understand the nature of our desperate, sweet, tragically flawed lead characters? The answer was… I hope we don’t @&*# it up.

On week 2, we happened to catch a glimpse of the film Saw on TV, and it became clearer to us how Baghead could be a really interesting film for this time frame in cinema. Saw is great in its own right, but it’s mean, it’s gory, and it’s not really scary. Somehow, the crazy sound design, gore, and effects, took the film further and further away from being actually scary. Whereas, with Baghead, we somehow stumbled into something genuinely frightening, with our $50,000 budget, no sound f/x, no score, no make-up… just a ridiculous paper bag and the question of “who the hell is under that bag?” So, we starte! d to feel smart. Confident. Inspired in new ways. We even waxed philosophical about how brilliant we were to “come up with his concept” (that we totally lucked into, btw)…

On week 3, we finished the shoot and all looked at each other a little shell shocked. What did we just do? Is this movie even gonna work? Cut to a year later. We’re opening the film at the Sundance Film Festival and every buyer is calling us, making insanely inflated offers, asking us how we came up with such a brilliant, genre-smashing concept.

I guess it kinda comes down to the old adage our dad used to tell us… “I’d rather be lucky than good.”

--Mark & Jay Duplass

From the author of Good Night, Monkey Boy, the hilarious tale of a haircut gone awry!
One day Josh had a big, brown bag idea: to wear a paper bag over his head. He thought it was a good idea. His mother did not. Neither did his bus driver, his teacher, or his soccer coa! ch. What could Josh possibly be hiding?
A surprise ending w! ill keep kids gigglingâ€"and from taking haircuts into their own hands!


From the Hardcover edition.PUFFY CHAIR - DVD Moviedvd

Daddy Day Care (Special Edition)

• TESTED

DVDThere are some good laughs to be found in Daddy Day Care, especially if you're a preschooler with energy to burn. This romper-room comedy shamelessly exploits its high concept idea--dropping Eddie Murphy into a seething den of rugrats--but kids will have plenty of vicarious fun as Murphy and his fellow laid-off colleague (Jeff Garlin) battle unemployment by opening a day-care center in Eddie's home. In partial Witches mode, Anjelica Huston hams it up as a day-care competitor bent on closing Eddie down, while doofus extraordinaire Steve Zahn is recruited as a third partner in "Daddy Day Care," trying his best to entertain a pack of hyperactive kids who've stopped taking their Ritalin. Zahn makes a funny Star Trek fan (even when the script contains bogus Trekkie trivia), and Murphy deserves credit for giving his all in a comedy that mostly squanders his talent. I! ndeed, is Daddy Day Care a comedy or every parent's nightmare? Daring viewers can decide for themselves. --Jeff Shannon

Cape Fear (1962) [DVD]

• The worst nightmare of a small-town lawyer (Gregory Peck) comes true when a criminal (Robert Mitchum) he helped put in jail returns to stalk his beautiful young wife and teenage daughter.
• 1 DVD / 106 Minutes

Academy Award®-winning director Martin Scorsese brings heart-pounding suspense to one of the most acclaimed thrillers of all time in Cape Fear. Earning an Academy Award® nomination for his brilliant performance, Robert De Niro stars as vicious psychopath Max Cady who emerges after being imprisoned for fourteen years with a single-minded mission - to seek revenge on his attorney Sam Bowden (Nick Nolte). Realizing he is legally powerless to protect his beautiful wife Leigh (Jessica Lange) and his troubled teenage daughter Danielle (Juliette Lewis) against Max's relentless psychological torment, Sam resorts to unorthodox measures, leading to an unforgettable, action-packed showdo! wn on Cape Fear. Starring: Robert De Niro, Nick Nolte, Jessica Lange, Juliette Lewis, Joe Don Baker, Robert Mitchum, Gregory Peck, Martin Balsam, Fred Dalton Thompson, Illeana Douglas Directed by: Martin ScorseseA RECENTLY-RELEASED RAPIST STALKS THE FAMILY OF THE ATTORNEY WHODEFENDED HIM.A southern lawyer sets a trap on a houseboat for a twisted ex-convict terrorizing his family. Studio: Uni Dist Corp. (mca) Release Date: 09/02/2003 Starring: Gregory Peck John Mckee Run time: 105 minutes Rating: Nr Director: J. Lee ThompsonSuperior to Martin Scorsese's punishing 1991 remake, this 1962 thriller directed by J. Lee Thompson (The Guns of Navarone) stars Robert Mitchum as a creepy ex-con angry at the attorney (Gregory Peck) whom he believes is responsible for his incarceration. After Mitchum makes clear his plans to harm Peck's family, a fascinating game of crisscrossing ethics and morality takes place. Where the more recent version seemed trapped in its explicitne! ss, Thompson's film accomplishes a lot with a more economical ! and tell ing use of violence. The result is a richer character study with some Hitchcockian overtones regarding the nature of guilt. --Tom KeoghMaster filmmaker Martin Scorsese brings heart-pounding suspense to one of the most acclaimed thrillers of all time. Fourteen years after being imprisoned, vicious psychopath Max Cady (Robert De Niro) emerges with a single-minded mission: to seek revenge on his attorney Sam Bowden (Nick Nolte). Cady becomes a terrifying presence as he menacingly circles Bowden's increasingly unstable family. Realizing he is legally powerless to protect his beautiful wife Leigh (Jessica Lange) and his troubled teenage daughter Danielle (Juliette Lewis), Sam resorts to unorthodox measures which lead to an unforgettable showdown on Cape Fear. Visually stunning images and brilliant performances from a talented cast highlight this roller-coaster ride through relentless psychological torment. Starring: Robert De Niro, Nick Nolte, Jessica Lange, Juliette Lewi! s, Joe Don Baker, Robert Mitchum, Gregory Peck, Martin Balsam, Fred Dalton Thompson, Illeana Douglas Directed by: Martin ScorseseMartin Scorsese's 1991 remake of J. Lee Thompson's 1962 thriller dabbles a bit in some fascinating psychological crosscurrents between its characters, but it finally trades in all that rich material for extensive and gratuitous violence. Robert De Niro plays a serial rapist released from prison after 14 years. Angry because his appalled attorney (Nick Nolte) made it easy for him to be convicted, this monster is out to hurt Nolte's character through his wife (Jessica Lange) and daughter (Juliette Lewis). The themes of interlocking guilt and anger between these people suggests a smart film in the making. But the final act, set on a boat with De Niro's vengeful pervert attacking Nolte and the two women, takes a more unfortunate direction. Stick with the original (which starred Robert Mitchum and Gregory Peck, each of whom make a cameo appearance in t! his film). --Tom KeoghGregory Peck and Robert Mitchum s! tar in H ollywood's classic tale of revenge and murder. Robert Mitchum is unforgettable as Max Cady, an ex-con determined to exact a terrible revenge on Sam Bowden (Gregory Peck) and his family. Sam is a small-town lawyer whose worst nightmare comes true when the criminal he helped put away returns to stalk his beautiful young wife (Polly Bergen) and teenage daughter (Lori Martin). Despite help from the local police chief (Martin Balsam) and a private detective (Telly Savalas), Sam is legally powerless to keep Max from playing his sadistic game of cat and mouse. Finally, Sam must put his family's lives at stake in a deadly trap that leads to one of the most suspenseful and heart-pounding confrontations ever committed to film. Director J. Lee Thompson builds tension with each scene leading to a deadly showdown at Cape Fear. This is truly a masterpiece of shock and suspense. BONUS FEATURES: * The Making Of Cape Fear * Production Photographs * Theatrical Trailer

Mezco Living Dead Dolls: Halloween II (2009) Michael Myers Doll

• Based on the new film
• Dressed in a film-specific costume
• Stands 10" tall
• Comes with bloody knife
• Window box packaging

Rob Zombie's H2 (Halloween) picks up at the exact moment that 2007's box-office smash, Halloween stopped and follows the aftermath of Michael Myers's (Tyler Mane) murderous rampage through the eyes of heroine Laurie Strode (Scout Taylor Compton). Evil has a new destiny. Michael Myers is back in this terrifying sequel to Rob Zombie’s visionary re-imagining of Halloween. It is that time of year again, and Michael Myers has returned home to sleepy Haddonfield, Illinois to take care of some unfinished family business. Unleashing a trail of terror that only horror master Zombie can, Myers will stop at nothing to! bring closure to the secrets of his twisted past. But the town's got an unlikely new hero, if they can only stay alive long enough to stop the unstoppable.Rocker turned writer-director Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher Halloween. The 1981 sequel to the Carpenter film is completely ignored here (and for good reason) in favor of an extension of the central focus of Zombie’s Halloween, and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous encounter with brother Michael Myers (Tyler Mane) by bonding with Sheriff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate fa! ther, Dr. Loomis (Malcolm McDowell) has forsaken his connectio! n to Lau rie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of Haddonfield, driven by visions of his mother (Sheri Moon Zombie) and a single-minded urge to bond with his sister at any cost.

Aesthetically, H2 is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost (Crank 2: High Voltage), which underscores the doom-laded spiral track each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, pop-culture ironic, white trash environment his characters frequently inhabit--with the scenes between Michael and his mother. But again, his ambitions don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will fi! nd these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ugly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is filled with cult icons like Caroline Williams (Texas Chainsaw Massacre 2), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior, and Dayton Callie (Deadwood) and left-field cameos by Howard Hesseman and “Weird Al” Yankovic. --Paul Gaita

Rob Zombie's H2 (Halloween) picks up at the exact moment that 20! 07's box-office smash, Halloween stopped and follows ! the afte rmath of Michael Myers's (Tyler Mane) murderous rampage through the eyes of heroine Laurie Strode (Scout Taylor Compton).

Evil has a new destiny. Michael Myers is back in this terrifying sequel to Rob Zombie’s visionary re-imagining of Halloween which grossed almost $80 million worldwide. It is that time of year again, and Michael Myers has returned home to sleepy Haddonfield, Illinois to take care of some unfinished family business. Unleashing a trail of terror that only horror master Zombie can, Myers will stop at nothing to bring closure to the secrets of his twisted past. But the town's got an unlikely new hero, if they can only stay alive long enough to stop the unstoppable.Rocker turned writer-director Rob Zombie returns to the horror field with this visually ambitious and aggressively brutal follow-up to his 2007 reinvention of John Carpenter’s seminal slasher Halloween. The 1981 sequel to the Carpenter film is completely ignored here (an! d for good reason) in favor of an extension of the central focus of Zombie’s Halloween, and all of his films, for that matter: the corruption at the heart of the nuclear family. Here, Laurie Strode (Scout Taylor Compton) is attempting to heal the psychic wounds from her previous encounter with brother Michael Myers (Tyler Mane) by bonding with Sheriff Brackett (Brad Dourif, a pleasure to watch as always) and his daughter Anne (Danielle Harris, herself a vet from the original run of Halloween sequels). Her previous surrogate father, Dr. Loomis (Malcolm McDowell) has forsaken his connection to Laurie by exploiting his connection to Michael with a tell-all book; meanwhile, Michael himself roams the lonely outskirts of Haddonfield, driven by visions of his mother (Sheri Moon Zombie) and a single-minded urge to bond with his sister at any cost.

Aesthetically, H2 is striking, thanks largely to the ashen color scheme by cinematographer Brandon Trost (Crank 2:! High Voltage), which underscores the doom-laded spiral tr! ack each of the main characters seem to travel in the film. And Zombie is to be commended for venturing outside of his comfort zone--the grimy, pop-culture ironic, white trash environment his characters frequently inhabit--with the scenes between Michael and his mother. But again, his ambitions don’t meet with his abilities--Moon looks impressive, but her apocalyptic mutterings ring more silly than spectral, especially when she’s forced to play opposite an enormous pale horse (insert heavy-handed Biblical imagery here). Most fans will find these moments more tedious than inspired, and a distraction from the murders, which retain Zombie’s preference for mayhem. He succeeds in this department, but if the end result is a menu of ugly killings, the point of revamping the Halloween franchise is somewhat moot, since the threadbare follow-ups to the Carpenter original already achieved that goal. Zombie’s knack for offbeat casting remains his most inspired talent: Haddonfield is fil! led with cult icons like Caroline Williams (Texas Chainsaw Massacre 2), Margot Kidder, and Daniel Roebuck, who jostle for space with rough-hewn character players like Duane Whitaker, Mark Boone Junior, and Dayton Callie (Deadwood) and left-field cameos by Howard Hesseman and “Weird Al” Yankovic. --Paul GaitaHephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Films directed by Rob Zombie.Reproduction poster of Halloween 2 printed on heavy card stock. Actors: Sheri M! oon Zombie Chase Wright Vanek Scout Taylor Compton Brad Dourif! Carolin e WilliamsLiving Dead Dolls Michael Myers Halloween 2 Doll