Cranford

• The BBC drama series adapted from Mary Gaskellsic novels of small town gossip, secrets and romance. 1842. Cranford, a market town in the North West of England, is a place governed by etiquette, custom and above all, an intricate network of ladies. It seems that life has always been conducted according to their social rules, but Cranford is on the cusp of change? For spinsters Deborah Jenkyns, the

Romantic Comedy. Alex (Luke Wilson) is an author whose writer's block and gambling debts have landed him in a jam. In order to get loan sharks off his back, he must finish his novel in 30 days or wind up dead. To help him complete his manuscript he hires stenographer Emma (Kate Hudson). As Alex begins to dictate his tale of a romantic love triangle to the charming yet somewhat opinionated stenographer, Emma challenges his ideas at every turn. Her unsolicited yet intriguing input begins to inadvertent! ly influence Alex and his story and soon real life begins to imitate art.For perhaps the first time in her career, Kate Hudson doesn't just imitate the twinkle of her mother, Goldie Hawn--and proves to be a winning romantic lead in her own right. Hudson plays Emma, a stenographer hired by a desperate writer named Alex (Luke Wilson, The Royal Tenenbaums, Legally Blonde), who has to finish a book in 30 days. Of course, a tentative romance blooms between them; but as Alex begins to interweave elements of his life into the love triangle of his novel--including a suspiciously Emma-esque character named Anna--Emma wonders if the novel's sexy other woman has a real-life counterpart as well. Though Alex & Emma suffers from some bland, formulaic elements, it also features flashes of engaging wit. Hudson dampens her gleam, but because she's not working so hard to be adorable, a relaxed and more unique charm comes forth. --Bret FetzerRomantic Comedy. Alex (! Luke Wilson) is an author whose writer's block and gambling de! bts have landed him in a jam. In order to get loan sharks off his back, he must finish his novel in 30 days or wind up dead. To help him complete his manuscript he hires stenographer Emma (Kate Hudson). As Alex begins to dictate his tale of a romantic love triangle to the charming yet somewhat opinionated stenographer, Emma challenges his ideas at every turn. Her unsolicited yet intriguing input begins to inadvertently influence Alex and his story and soon real life begins to imitate art.For perhaps the first time in her career, Kate Hudson doesn't just imitate the twinkle of her mother, Goldie Hawn--and proves to be a winning romantic lead in her own right. Hudson plays Emma, a stenographer hired by a desperate writer named Alex (Luke Wilson, The Royal Tenenbaums, Legally Blonde), who has to finish a book in 30 days. Of course, a tentative romance blooms between them; but as Alex begins to interweave elements of his life into the love triangle of his novel--including ! a suspiciously Emma-esque character named Anna--Emma wonders if the novel's sexy other woman has a real-life counterpart as well. Though Alex & Emma suffers from some bland, formulaic elements, it also features flashes of engaging wit. Hudson dampens her gleam, but because she's not working so hard to be adorable, a relaxed and more unique charm comes forth. --Bret FetzerRomantic Comedy. Alex (Luke Wilson) is an author whose writer's block and gambling debts have landed him in a jam. In order to get loan sharks off his back, he must finish his novel in 30 days or wind up dead. To help him complete his manuscript he hires stenographer Emma (Kate Hudson). As Alex begins to dictate his tale of a romantic love triangle to the charming yet somewhat opinionated stenographer, Emma challenges his ideas at every turn. Her unsolicited yet intriguing input begins to inadvertently influence Alex and his story and soon real life begins to imitate art.For perhaps the f! irst time in her career, Kate Hudson doesn't just imitate the ! twinkle of her mother, Goldie Hawn--and proves to be a winning romantic lead in her own right. Hudson plays Emma, a stenographer hired by a desperate writer named Alex (Luke Wilson, The Royal Tenenbaums, Legally Blonde), who has to finish a book in 30 days. Of course, a tentative romance blooms between them; but as Alex begins to interweave elements of his life into the love triangle of his novel--including a suspiciously Emma-esque character named Anna--Emma wonders if the novel's sexy other woman has a real-life counterpart as well. Though Alex & Emma suffers from some bland, formulaic elements, it also features flashes of engaging wit. Hudson dampens her gleam, but because she's not working so hard to be adorable, a relaxed and more unique charm comes forth. --Bret FetzerSixteen-year-old Poppy (Emma Roberts) is an LA teen diva who does what she wants, whenever she wants. But after an over-the-top prank pushes her father one step too far, she finds hers! elf shipped off to the one place where everything will change: a British boarding school. No cell phones, no designer clothes…no way. Desperate to break free, she sets in motion the ultimate escape plan involving the head mistress’ son â€" only to discover that this could be the reason she wants to stay. Co-starring Natasha Richardson, Aidan Quinn and Nick Frost, it’s the fun and fabulous comedy that’s LOL!Poppy is spoiled. OK, Poppy, played with snottiness galore by Emma Roberts, is wicked-impossible spoiled. As Wild Child opens, Poppy is having a Malibu meltdown, in the form of tossing her dad's new girlfriend's clothing into the Pacific--just past the edge of the infinity pool."This is the last straw, Poppy!" shouts her beleaguered dad (Aidan Quinn). So off Poppy goes--to boarding school. In England. Where it rains 200 days a year. If Wild Child has few plot surprises--selfish kid learns respect for others with the persistence a! nd pluck of new friends and firm authority figures--it's still! a lark, because of Roberts' considerable winsomeness, and because the dreaded England ends up showing considerable charm of its own, which draws in both Poppy and the viewer. Wild Child also marks something bittersweet, the last film performance of Natasha Richardson (who died in March 2009). Richardson is winning as the strict but warmhearted headmistress, Mrs. Kingsley, making what could be a one-dimensional character complex. Richardson is totally self-possessed and grounded, and in some shots seems to channel another great British actress, Emma Thompson. The great Scottish character actress Shirley Henderson also makes a sly appearance as the matron with the dry-as-bone-china sense of humor.

"What is this place, Hogwarts?" sneers Poppy when she arrives at the remote 18th-century school. But what happens to Poppy is in some ways even more transformative than the goings-on at Harry Potter's school. Flirtation and love hover in the air, in the form of Mrs. Kingsley's hun! ky son, Freddie (Alex Pettyfer); and Poppy's flair for the dramatic and her undeniable leadership skills galvanize the student body, in some unexpected ways. Roberts is becoming a delightful actress with charisma and nuance. And as the Wild Child is tamed, a lovely young woman is revealed. --A.T. HurleyThe BBC drama series adapted from Elizabeth Gaskell's classic novels of small town gossip, secrets and romance. 1842. Cranford, a market town in the North West of England, is a place governed by etiquette, custom and above all, an intricate network of ladies. It seems that life has always been conducted according to their social rules, but Cranford is on the cusp of change… For spinsters Deborah Jenkyns, the arbiter of correctness in Cranford, and Matty, her demurring sister, the town is a hub of intrigue - a handsome new doctor Frank Harrison from London has arrived; a retired Captain and his daughters have moved in to a house opposite and the preparations for Lady ! Ludlows garden party are underway. Everyone - from charming ro! gue Dr M arshland to mean Mrs Jamieson and her lap dog talks, and is talked about, behind closed doors. The town also has its secrets which it slowly reveals: Mattys encounter with an old flame at the garden party; Lady Ludlows gardener, Mr Carter, teaching a gypsy lad to read and write; the wild expectations of the May Day celebrations and - news that shakes the town when it is revealed - a railway line from Manchester is coming to Cranford.Adapted from Elizabeth Gaskell's novels, the five-episode miniseries Cranford focuses on female characters in the 19th-century British town to thematically contemplate encroaching modernity in rural England. With the camera roving house to house, each drama within the grander story is constructed of scenes featuring dialogue between several gossipy ladies obsessed with moral code, romantic ideas about courtship, and social occasions. Three main characters, the ever-appropriate Deborah Jenkyns (Eileen Atkins), her sweet sister, Matilda (Jud! i Dench), and their younger, more savvy relative, Miss Smith (Lisa Dillon), continuously weigh in on situations, providing a dependable view when other ladies, like the nosey Miss Pole (Imelda Staunton) are too judgmental. In fine period dress, the women of Cranford remind the viewer of how little action was needed in their small-town lives to provide unceasing entertainment. The series'most intriguing aspect lies not in the ample female conversation but rather in its display of earlier technologies and ways of life. Part One, for example, quickly launches a main narrative thread that runs throughout the series, namely the arrival and assimilation of London doctor, Frank Harrison (Simon Woods), into village society. Dr. Harrison's medical practices, such as his refusal to amputate a man's arm because it's broken, are all the more radical because they are so fundamental by today's standards. In subsequent episodes, he recommends Miss Smith get spectacles to cure her h! eadaches, and saves his love's life by cooling her fever after! conserv ative doctor, Dr. Morgan (John Bowe), recommends the old school practice of burying her in blankets in front of a raging fire. In Part Two, Lady Ludlow (Francesca Annis) throws a garden party at her estate, treating all the women in their fancy hats to a new novelty: ice cream. This scene foreshadows Ludlow's future concern at a railroad plan involving her land that would connect Cranford to Manchester, symbolizing the ruin of this idyllic setting.

In fact, fluffy and clever as some scenes are, death and rebirth assert themselves in each showing, both physically and idealistically. Part Four shows an auctioning off of a deceased man's antiques, and focuses on issues of class and women's education, as Mr. Carter teaches a peasant boy to read while his assistant fumes at her trappings as a seamstress. Part Five ushers in a new period of medical emergencies, securing Dr. Harrison's shaky position in town. In total, Cranford offers a powerful, if sentimental, look at h! ow death begets life, love, and passion. --Trinie Dalton

Casshern Sins: Part 1

• Salvation is the ruin of man and machine.Casshern a cybernetic assassin with no memory of his past awakens in a corrosive wasteland where nothing survives for long. A plague known as the Ruin sweeps across this once-vibrant world, reducing everything in its path to rubble and scattering any chance for salvation. Robots and humans alike or what little remains of them seek vengeance against Casshern

After 50 years of bitter warfare in the late 21st century, a new crisis looms. A threat to the future and the overall existence of mankind. But, there is hope a savior will emerge… Casshern. Casshern is an action-packed, sci-fi thriller that blends Japanamation and manga-inspired live action to create a new hybrid form of filmmaking that is both visually stunning and thought provoking.Kiriya Kazuaki’s spectacular Casshern is an impressive marriage of live action drama and animated effe! cts that, taken together, look like something both very old and very new in cinema. A wild, science fiction tale with an echo or two of Bladerunner, Casshern is set in a dystopian future following a 50-year-long war between Europe and Asia. The latter wins, calling the resulting Eurasia the "Eastern Federation," but the high-tech weapons used in the battle have affected the whole of mankind through widespread devastation and illness. A geneticist whose son, Tetsuya (Yusuke Iseya), has gone off to fight terrorists, promises the military his work on "neo cells" will result in the cultivation of spare human parts for the wounded and afflicted. But two unexpected results occur: a small band of superhuman mutants rise up out of the scientist’s chemical muck, and Tetsuya--killed in battle--is brought back to life with his own superpowers. While the mutants rise up against the human race, Tetsuya, now known as "Casshern," takes them on against a fascinating psychol! ogical backdrop with Oedipal overtones. The film’s look of h! yperreal , pop culture pastiche (in which action often evokes the look of 1930s movie serials blended with a whirl of dreamy, free-associating images) is reaching for the same thing as Sky Captain and the World of Tomorrow. But it is much grander in its effort. --Tom KeoghCasshern â€" a cybernetic assassin with no memory of his past â€" awakens in a corrosive wasteland where nothing survives for long. A plague known as the Ruin sweeps across this once-vibrant world, reducing everything in its path to rubble and scattering any chance for salvation. Robots and humans alike â€" or what little remains of them â€" seek vengeance against Casshern for the life he took and the role he played in their Ruin. A machine built to kill, Casshern murdered the last hope for this world, but now, lost in a future he does not recognize, he will fight to save the dying.Based on the classic Manga. Casshern is Anime meets the matrix in style.Casshern â€" a cybernetic assassin with no memory ! of his past â€" awakens in a corrosive wasteland where nothing survives for long. A plague known as the Ruin sweeps across this once-vibrant world, reducing everything in its path to rubble and scattering any chance for salvation. Robots and humans alike â€" or what little remains of them â€" seek vengeance against Casshern for the life he took and the role he played in their Ruin. A machine built to kill, Casshern murdered the last hope for this world, but now, lost in a future he does not recognize, he will fight to save the dying.Casshern Sins (2008) is a reboot of Tatsuo Yoshida's Casshan Robot Hunter (1973), which was adapted to an OAV in 1993 and a live-action feature in 2004. Sins contains almost nothing of the original story, in which cybernetic hero Casshan fought the robot-soldiers of the evil Braiking Boss in a postapocalyptic landscape. Casshern isn't sure if he's a robot, a human, or a cyber-combination. He has no memories of who he is or w! hat he's done, but everyone he meets insists he killed Luna, "! the Sun Named Moon." As a result, Earth is staggering to its end. All that remains are a few people and three types of robots: human-looking ones who express emotions; puppetlike semi-humans; and big, nasty warrior-bots. In every episode, Casshern performs gymnastic flips and spins as he pounds the evil robots into so much scrap metal. But all the robots are succumbing to "the Ruin," a sort of mechanical plague that causes them to crumble into rusty flakes. As Casshern roams the wastelands and ruined cities with his robot-dog Friender, he hears rumors that Luna may still exist---and any otaku worth their salt can guess which supporting character she'll turn out to be. Director Shigeyasu Yamauchi choreographs the fights scenes skillfully, using a combination of CG and drawn animation to present the acrobatic battles. But Casshern's amnesia means other characters deliver endless expository speeches, trying to untangle the needlessly complicated plot. (Rated TV MA: violence, vio! lence against women, grotesque imagery) --Charles Solomon

(1. At the End of the World, 2. A World Replete with Death Throes, 3. To the Ends of Agony, 4. The Angel of Ruin, 5. The Man Who Killed the Sun Named Moon, 6. Reunited with Fate, 7. The Woman of the Tall Tower, 8. A Hymn of Hope, 9. The Flower That Blooms in the Valley of Ruin, 10. The Man Entrapped by the Past, 11. By One's Calling, 12. Turn the Time Lived to Color)

Amusement [Blu-ray]

• Tabitha. Shelby. Lisa. They're longtime friends on separate life paths. But they share a horrific destination when a seemingly innocent incident from their school days comes back to terrify them. Something - someone - wants payback: warped vengeance. mind-games vengeance.taunting, shredding, slashing vengeance. Inside a stone-walled chamber of prison cells and mechanisms of doom, the three women

Tabitha. Shelby. Lisa. Theyre longtime friends on separate life paths. But they share a horrific destination when a seemingly innocent incident from their school days comes back to terrify them. Something someone wants payback: warped vengeance…mind-games vengeance…taunting, shredding, slashing vengeance. Inside a stonewalled chamber of prison cells and mechanisms of doom, the three women and other victims face a fierce fight to survive. Who lives? Who dies? Its all for someones Amusement. From sc! reenwriter Jake Wade Wall (The Hitcher) and director John Simpson (Freeze Frame) comes a new film foray into horror. Turn down the lights. Turn up the fear.Amusement opens with a too-long scene involving a girl named Shelby’s (Laura Breckenridge) reluctance to join a trucking convoy that her boyfriend behind the wheel is for some reason totally dedicated to. One can guess if they ever return from this fateful road trip. From here, the film splinters into three more parts, focusing on Shelby’s childhood friends, Lisa (Jessica Lucas) and Tabitha (Katheryn Winnick), and finally, a serial killer who aims to ensnare them all because they didn’t laugh at his animal-torturing diorama in grade school. The killer, a brainiac who sports rubber apron, gloves, and goggles for his sick enterprises, operates on the premise that his killings are funny, and cackles ring throughout the film. There is not a tremendous amount of gore in Amusement, as it focuses on what lit! tle suspense it manages, as citizens and FBI agents alike fail! to catc h the crafty villain. Perhaps the most notable aspect to this film is the mysterious criminal ringleader, a clown doll, who appears midway through as Tabitha tries to babysit. Furthering Stephen King’s It tradition, this movie gets slightly better when the girls enter this evil clown’s territory, a bedroom packed with clown toys. However, the clown and his clown posse are a bit non sequitur, and the entire film feels confused and patched together. Return to Child’s Play if you really want to delve into evil toys and the young boys who play with them. --Trinie DaltonTabitha. Shelby. Lisa. They're longtime friends on separate life paths. But they share a horrific destination when a seemingly innocent incident from their school days comes back to terrify them. Something - someone - wants payback: warped vengeance... mind-games vengeance...taunting, shredding, slashing vengeance. Inside a stone-walled chamber of prison cells and mechanisms of doom, the! three women and other victims face a fierce fight to survive. Who lives? Who dies? It's all for someone's Amusement. From screenwriter Jake Wade Wall (The Hitcher) and director John Simpson (Freeze Frame) comes a new film foray into horror. Turn down the lights. Turn up the fear.Amusement opens with a too-long scene involving a girl named Shelby’s (Laura Breckenridge) reluctance to join a trucking convoy that her boyfriend behind the wheel is for some reason totally dedicated to. One can guess if they ever return from this fateful road trip. From here, the film splinters into three more parts, focusing on Shelby’s childhood friends, Lisa (Jessica Lucas) and Tabitha (Katheryn Winnick), and finally, a serial killer who aims to ensnare them all because they didn’t laugh at his animal-torturing diorama in grade school. The killer, a brainiac who sports rubber apron, gloves, and goggles for his sick enterprises, operates on the premise that his killings are funny, ! and cackles ring throughout the film. There is not a tremendou! s amount of gore in Amusement, as it focuses on what little suspense it manages, as citizens and FBI agents alike fail to catch the crafty villain. Perhaps the most notable aspect to this film is the mysterious criminal ringleader, a clown doll, who appears midway through as Tabitha tries to babysit. Furthering Stephen King’s It tradition, this movie gets slightly better when the girls enter this evil clown’s territory, a bedroom packed with clown toys. However, the clown and his clown posse are a bit non sequitur, and the entire film feels confused and patched together. Return to Child’s Play if you really want to delve into evil toys and the young boys who play with them. --Trinie Dalton

Bee Movie (Two-Disc Blu-ray/DVD Combo)

• Features include: -MPAA Rating: PG -Format: Blu-Ray

"Bee Movie" is a comedy that will change everything you think you know about bees. Having just graduated from college, a bee by the name of Barry B. Benson (Jerry Seinfeld) finds himself disillusioned with the prospect of having only one career choiceâ€"honey. As he ventures outside of the hive for the first time, he breaks one of the cardinal rules of the bee world and talks to a human, a New York City florist named Vanessa (Renee Zellweger). He is shocked to discover that the humans have been stealing and eating the bee’s honey for centuries. He ultimately realizes that his true calling in life is to set the world right by suing the human race. That is until the ensuing chaos upsets the very balance of nature. It is up to Barry to prove that even a little bee can spell big changes in the world.There aren't a lot of choices in a bee's lif! e: a bee attends a few days of school, graduates from college, and chooses a job in the hive that he'll labor at for the rest of his life. Barry (Jerry Seinfeld) is different from his best friend Adam (Matthew Broderick) and all the other bees: he wants to see the world outside the hive and can't begin to contemplate doing the same job for his entire life. Naturally, the life of the "pollen jock" bees appeals to Barry because it's the only job that takes a bee outside the hive and into the larger human world. Once outside the hive, Barry breaks the most sacred bee law and speaks to a human named Vanessa (Renée Zellweger) in order to thank her for saving his life. A relationship quickly blossoms and leads Barry to the discovery that humans are stealing honey from the bees and selling it for their own profit. Vowing to hurt the humans the one place they’ll feel it, Barry brings a legal suit against the honey industry and the courtroom drama begins. There are some hys! terical moments in the film, as one would expect from a Seinfe! ld produ ction, and an abundance of one-liners, double-meanings, slapstick humor, and innuendo-laden dialogue that will keep adults guffawing throughout the show. Still, the whole concept of seeing the life of a common pest through non-human eyes is getting repetitive thanks to films like Ratatouille, Flushed Away, Open Season, and Over the Hedge. It should be noted, though, that this first foray into animation by Jerry Seinfeld was four years in production due to its collaborative nature, so its theme may actually have well predated all of the aforementioned films. Children ages 5 and older will love the bees' silly antics, though many of the jokes will go right over their heads and parents should be cautioned about some mildly suggestive humor. More than just a comical film about the life of one very different honeybee, Bee Movie is a social commentary that pokes fun at human behavior while stressing the importance of doing even the most menia! l job well and championing the power of working together toward a common goal. There's even a lesson to be learned from the bees about controlling one's temper. --Tami Horiuchi"Bee Movie" is a comedy that will change everything you think you know about bees. Having just graduated from college, a bee by the name of Barry B. Benson (Jerry Seinfeld) finds himself disillusioned with the prospect of having only one career choiceâ€"honey. As he ventures outside of the hive for the first time, he breaks one of the cardinal rules of the bee world and talks to a human, a New York City florist named Vanessa (Renee Zellweger). He is shocked to discover that the humans have been stealing and eating the bee’s honey for centuries. He ultimately realizes that his true calling in life is to set the world right by suing the human race. That is until the ensuing chaos upsets the very balance of nature. It is up to Barry to prove that even a little bee can spell big changes in the ! world.There aren't a lot of choices in a bee's life: a bee att! ends a f ew days of school, graduates from college, and chooses a job in the hive that he'll labor at for the rest of his life. Barry (Jerry Seinfeld) is different from his best friend Adam (Matthew Broderick) and all the other bees: he wants to see the world outside the hive and can't begin to contemplate doing the same job for his entire life. Naturally, the life of the "pollen jock" bees appeals to Barry because it's the only job that takes a bee outside the hive and into the larger human world. Once outside the hive, Barry breaks the most sacred bee law and speaks to a human named Vanessa (Renée Zellweger) in order to thank her for saving his life. A relationship quickly blossoms and leads Barry to the discovery that humans are stealing honey from the bees and selling it for their own profit. Vowing to hurt the humans the one place they’ll feel it, Barry brings a legal suit against the honey industry and the courtroom drama begins. There are some hysterical moments in th! e film, as one would expect from a Seinfeld production, and an abundance of one-liners, double-meanings, slapstick humor, and innuendo-laden dialogue that will keep adults guffawing throughout the show. Still, the whole concept of seeing the life of a common pest through non-human eyes is getting repetitive thanks to films like Ratatouille, Flushed Away, Open Season, and Over the Hedge. It should be noted, though, that this first foray into animation by Jerry Seinfeld was four years in production due to its collaborative nature, so its theme may actually have well predated all of the aforementioned films. Children ages 5 and older will love the bees' silly antics, though many of the jokes will go right over their heads and parents should be cautioned about some mildly suggestive humor. More than just a comical film about the life of one very different honeybee, Bee Movie is a social commentary that pokes fun at human behavior while str! essing the importance of doing even the most menial job well a! nd champ ioning the power of working together toward a common goal. There's even a lesson to be learned from the bees about controlling one's temper. --Tami Horiuchi

Features include:

•MPAA Rating: PG
•Format: Blu-Ray

GOODYEAR 46504 3/8-inch by 25-feet 250 PSI Rubber Air Hose With 1/4-Inch MNPT Ends and Bend Restrictors

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Alabama Crimson Tide Gold & Silver Tone Cufflinks

• Officially licensed NCAA product

Award-winning filmmaker Jafar Panahi's (The White Balloon, The Circle) latest triumph is an intimate and absorbing drama about the ways in which the hypocrisies and slights of daily life can push otherwise reasonable people over the edge. Based on true events and written by acclaimed director Abbas Kiarostami (A Taste of Cherry), CRIMSON GOLD is the story of Hussein, a humble pizza deliveryman who feels continually humiliated by the injustices he sees all around him. When his friend Ali finds a receipt for a stranger's necklace purchase, Hussein is stunned by its exceptionally high cost. He knows that his pitiful salary will never be enough to afford such a luxury. Soon after, he and Ali are refused entry to an uptown jewelry store because of their scruffy appearances; his rage over this slight sets off a series of events. But Hussein will taste the luxurio! us life for one night before his deep feelings of humiliation push him over the edge. DVD extras include: 5.1, trailer, subtitle control, weblinks, Interview with director Jafar PanahiTwo master filmmakers, Abba Kiarostami (A Taste of Cherry) and Jafar Panahi (The Circle), team up as writer and director, respectively (as they did on 1996's The White Balloon), on Crimson Gold, a subtle tragedy about class conflict in Iran. Hussein (Hossain Emadeddin) is a lumbering veteran swollen by cortisone (for war-induced pain) and reduced to delivering pizzas at night. (He is frequently lost in a mental semi-fog during the days.) Witness to the rewards and vanities of the wealthy, insulted when a jewelry shop owner won't allow him in his store, and under pressure to get married, Hussein awkwardly aspires for higher ground but is more familiar with a life of marginal importance. When an eccentric socialite gives him a taste of luxury, something desperate is u! nleashed. Panahi brings his feel for and vision of the expansi! ve ordin ary, for the near-invisible forces churning within characters in seemingly throwaway circumstances. A haunting film. --Tom KeoghAward-winning filmmaker Jafar Panahi's (The White Balloon, The Circle) latest triumph is an intimate and absorbing drama about the ways in which the hypocrisies and slights of daily life can push otherwise reasonable people over the edge. Based on true events and written by acclaimed director Abbas Kiarostami (A Taste of Cherry), CRIMSON GOLD is the story of Hussein, a humble pizza deliveryman who feels continually humiliated by the injustices he sees all around him. When his friend Ali finds a receipt for a stranger's necklace purchase, Hussein is stunned by its exceptionally high cost. He knows that his pitiful salary will never be enough to afford such a luxury. Soon after, he and Ali are refused entry to an uptown jewelry store because of their scruffy appearances; his rage over this slight sets off a series of events. But Hussein will t! aste the luxurious life for one night before his deep feelings of humiliation push him over the edge. DVD extras include: 5.1, trailer, subtitle control, weblinks, Interview with director Jafar PanahiTwo master filmmakers, Abba Kiarostami (A Taste of Cherry) and Jafar Panahi (The Circle), team up as writer and director, respectively (as they did on 1996's The White Balloon), on Crimson Gold, a subtle tragedy about class conflict in Iran. Hussein (Hossain Emadeddin) is a lumbering veteran swollen by cortisone (for war-induced pain) and reduced to delivering pizzas at night. (He is frequently lost in a mental semi-fog during the days.) Witness to the rewards and vanities of the wealthy, insulted when a jewelry shop owner won't allow him in his store, and under pressure to get married, Hussein awkwardly aspires for higher ground but is more familiar with a life of marginal importance. When an eccentric socialite gives him a taste of luxury, somethin! g desperate is unleashed. Panahi brings his feel for and visio! n of the expansive ordinary, for the near-invisible forces churning within characters in seemingly throwaway circumstances. A haunting film. --Tom Keogh

She wanted out.

She wanted a new life.

She wanted a trophy worthy of a master thief.

She wanted to find the source of the treasured crimson gold.

She wanted to face an undead emperor on his home ground and live to tell the tale.

Careful what you wish for.

The Crimson Gold is the third title in this ongoing Forgotten Realms series focusing specifically on the shadowed life of the iconic character class of the rogue. Each novel in the series is a stand-alone adventure, allowing readers an easy entry point into the Forgotten Realms world.

Award-winning filmmaker Jafar Panahi's (The White Balloon, The Circle) latest triumph is an intimate and absorbing drama about the ways in which the hypocrisies and slights of daily life can push otherwise reasonable pe! ople over the edge. Based on true events and written by acclaimed director Abbas Kiarostami (A Taste of Cherry), CRIMSON GOLD is the story of Hussein, a humble pizza deliveryman who feels continually humiliated by the injustices he sees all around him. When his friend Ali finds a receipt for a stranger's necklace purchase, Hussein is stunned by its exceptionally high cost. He knows that his pitiful salary will never be enough to afford such a luxury. Soon after, he and Ali are refused entry to an uptown jewelry store because of their scruffy appearances; his rage over this slight sets off a series of events. But Hussein will taste the luxurious life for one night before his deep feelings of humiliation push him over the edge.Two master filmmakers, Abba Kiarostami (A Taste of Cherry) and Jafar Panahi (The Circle), team up as writer and director, respectively (as they did on 1996's The White Balloon), on Crimson Gold, a subtle tragedy about class ! conflict in Iran. Hussein (Hossain Emadeddin) is a lumbering v! eteran s wollen by cortisone (for war-induced pain) and reduced to delivering pizzas at night. (He is frequently lost in a mental semi-fog during the days.) Witness to the rewards and vanities of the wealthy, insulted when a jewelry shop owner won't allow him in his store, and under pressure to get married, Hussein awkwardly aspires for higher ground but is more familiar with a life of marginal importance. When an eccentric socialite gives him a taste of luxury, something desperate is unleashed. Panahi brings his feel for and vision of the expansive ordinary, for the near-invisible forces churning within characters in seemingly throwaway circumstances. A haunting film. --Tom KeoghFinish your look with this set of classy team logo cufflinks and tie clip! Cufflinks are 3/4" and tie clip is 2 1/4" in length.

• Officially licensed NCAA product

The First Saturday in May

• FIRST SATURDAY IN MAY, THE (DVD MOVIE)

The Hennegan brothers follow six trainers from varying parts of the country on their prize 2005 horses’ journeys through various graded stakes to the Kentucky Derby. Both joy and heartbreak are present in this film, often shown by the same trainers and their families, concerning their horses’ stances going into, coming out of, and after the Derby (if they even make it). Of 40,000 foals ever year, only 20 will make the Derby, and the Hennegan brothers follow six remarkable stories along their paths to defying the odds.

How the Grinch Stole Christmas!

• video

The Grinch has been foiled!

The Grinch hates Christmas, and wants to stop it from coming. So he forms a devious plan: to impersonate Santy Claus and to steal the Whos’ Christmas presents. But come Christmas morning, the Grinch is in for a shocking surprise. He did not stop Christmas from coming! And the Grinch realizes something new. That maybe Christmas doesn’t come from a store. That maybe Christmas . . . perhaps . . . means a little bit more!

Now always available with a foil cover!You're a mean one, Mr. Grinch. But are you rotten enough to ruin Whoville's Christmas Whobilation this year, even after Cindy Lou Who nominates you to be the Cheermeister of the event? Based on Dr. Seuss's wacky and wonderful classic picture book, How the Grinch Stole Christmas and the motion picture screenplay of the same name, th! is novelization elaborates on the story of a holiday gone awry. Little Cindy Lou Who, her cheerfully dopey dad, Lou Lou Who, her semi-delinquent teenage brothers Stu and Drew Lou Who, the Martha Stewartesque Martha May Whovier, and the nastiest, most cynical, evil-hearted Grinch around star in this Christmas comedy. Seventeen color photos from the film are included. (Ages 8 to 12) --Emilie Coulter