Dear Wendy

• Directed by Thomas Vinterberg (The Celebration) and written by Lars von Trier (Dogville), Dear Wendy is an audacious and stylish exploration of guns and violence in America. When a young loner named Dick (Jamie Bell) discovers a vintage handgun, he finds himself strangely drawn to it in spite of his pacifist views. Soon he forms a secret club with other misfits in his town who collect and revere a

Directed by Thomas Vinterberg (The Celebration) and written by Lars von Trier (Dogville), Dear Wendy is an audacious and stylish exploration of guns and violence in America. When a young loner named Dick (Jamie Bell) discovers a vintage handgun, he finds himself strangely drawn to it in spite of his pacifist views. Soon he forms a secret club with other misfits in his town who collect and revere antique guns and refer to themselves as "The Dandies." But despite their firm belief in the most importan! t Dandy rule of all - "never draw your weapons" - they eventually discover that some rules are meant to be broken.

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Thomas And Friends Wooden Railway - Harold The Helicopter

• Handmade from REAL WOOD
• Moving propeller
• Durable paint job
• Realistic details
• Recommended Age Range 2 to 5 Years

All aboard the next stop along the learning curve . . . kids three and up will enjoy the magical adventures of the ever-popular Thomas and Friends Wooden Railway System. Featuring characters from the Thomas the Tank Engine & Friends video series and the Thomas and the Magic Railroad feature film now out on video, this system allows children to re-enact their favorite Thomas tales or create new adventures of their own. Besides encouraging imagination, wooden train-play helps kids develop motor and social skills. The Thomas Wooden Railway System is designed to grow along with kids' increasing skills, offering years of enjoyable play and new adventures around each and every bend.

Thomas and his friends bring personality and fun to woode! n train play. All aboard for adventure on the Island of Sodor! Good-hearted Harold brings welcome but noisy visits to the quiet Sodor landscape. For use with Thomas and Friends Wooden Railway System sets (sold separately).Kindhearted but noisy, Harold the Helicopter likes to drop in on the Island of Sodor to visit his railway friends. This 4-inch sturdy wood helicopter is white with a sleek red racing stripe above his name. With a rotating propeller and plastic landing pontoons, Harold is ready for action. Based on the popular Thomas the Tank Engine series by Reverend W. Awdry and the PBS television show Shining Time Station, this flying fellow is part of the much-loved wooden railway system, which is compatible with other magnetic train sets. You can reenact all the exciting stories in the series or make up new ones. Thomas fans won't want to miss out on any of these fun, well-built railway characters. --Emilie Coulter

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Harold and Kumar Escape From Guantanamo Bay (Unrated Two-Disc Special Edition)

• On their flight to Amsterdam Harold and Kumar are mistaken for terrorists and sent to Guantanamo Bay. but not for long. They bust out and go on a cross-country road trip to clear their names and win over their hotties! But first they'll have to outsmart the Feds outrun the Klan and enlist the help of a hallucinating Neil Patrick Harris. It's one wild ride with America's most wanted - and most was

Studio: New Line Home Video Release Date: 07/29/2008 Rating: UrBeginning precisely where Harold & Kumar Go to White Castle left off, Harold & Kumar Escape from Guantanamo Bay takes the film franchise in a more boorish and spuriously topical direction. Harold (John Cho) and Kumar (Kal Penn) take an ill-fated flight to Amsterdam, during which Kumar's suspicious-looking bong is mistaken for a bomb. Their arrest prompts a wild-eyed, racist Homeland Security nut (Rob Corddry) to send the b! oys to indefinite lockup at Guantanamo Bay, where beefy guards sexually subjugate "enemy combatants." The duo manage to get away and make it back to the U.S., hoping the well-connected fiance (Eric Winter) of Kumar's old girlfriend, Vanessa (Danneel Harris), can get them out of their mess. During a dangerous and grotesque odyssey to Texas (where Vanessa is marrying her rich and vain boyfriend, much to Kumar's dismay), Harold and Kumar have episodic encounters with the Ku Klux Klan, a one-eyed, inbred monster, and old friend Neil Patrick Harris (as himself), who swallows fistfuls of magic mushrooms and drags the boys to a brothel stop that goes terribly wrong.

The desultory comedy strikes a lowbrow tone from its opening scene (Harold takes a shower while Kumar has a diarrhea attack) and doesn't get much more interesting than that. If there's a bodily fluid that doesn't rate a joke in Guantanamo Bay, it doesn't exist. The persistent sight gags about weed (including! a smoky visit with President Bush) never reach the kind of gi! ddy pitc h that pot humor requires, leaving a lot of the film's comedy just hanging like dead space. The sequel's attempt to say something, albeit in a gross way, about the state of the country during the Bush years is obvious and empty. Really, there isn't a lot of reason for Guantanamo Bay to have been made, except to print money. --Tom Keogh

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The Deep End of the Ocean

• Michelle Pfeiffer, Whoopi Goldberg, High School Reunion, Treat Williams, Jonathan Jackson, Cory Buck

A #1 New York Times bestseller, Mitchard's suspenseful and moving novel is now available in trade paperback

Few first novels receive the kind of attention and acclaim showered on this powerful story--a nationwide bestseller, a critical success, and the first title chosen for Oprah's Book Club. Both highly suspenseful and deeply moving, The Deep End of the Ocean imagines every mother's worst nightmare--the disappearance of a child--as it explores a family's struggle to endure, even against extraordinary odds. Filled with compassion, humor, and brilliant observations about the texture of real life, here is a story of rare power, one that will touch readers' hearts and make them celebrate the emotions that make us all one.

"Riveting . . . twists that will spin you arou! nd." --Newsweek

"A drama with the tension of a thriller that moves deeply into the emotional territory of family ties." --People

"Take a deep breath. . . . This riveting story won't let you come up for air." --US magazine Oprah Book Club® Selection, September 1996: The horror of losing a child is somehow made worse when the case goes unsolved for nearly a decade, reports Milwaukee Journal-Sentinel columnist Jacquelyn Mitchard in this searing first novel. In it, 3-year-old Ben Cappadora is kidnapped from a hotel lobby where his mother is checking into her 15th high school reunion. His disappearance tears the family apart and invokes separate experiences of anguish, denial, and self-blame. Marital problems and delinquency in Ben's older brother (in charge of him the day of his kidnapping) ensue. Mitchard depicts the family's friction and torment--along with many gritty realities of family life--with the candor of a j! ournalist and compassion of someone who has seemingly been th! ere. Int ernational publishing and movie rights sold fast on this one: It's a blockbuster.Few first novels receive the kind of attention and acclaim showered on this powerful storyâ€"a nationwide bestseller, a critical success, and the first title chosen for Oprah's Book Club. Both highly suspenseful and deeply moving, The Deep End of the Ocean imagines every mother's worst nightmareâ€"the disappearance of a childâ€"as it explores a family's struggle to endure, even against extraordinary odds. Filled with compassion, humor, and brilliant observations about the texture of real life, here is a story of rare power, one that will touch readers' hearts and make them celebrate the emotions that make us all one.Oprah Book Club® Selection, September 1996: The horror of losing a child is somehow made worse when the case goes unsolved for nearly a decade, reports Milwaukee Journal-Sentinel columnist Jacquelyn Mitchard in this searing first novel. In it, 3-year-old B! en Cappadora is kidnapped from a hotel lobby where his mother is checking into her 15th high school reunion. His disappearance tears the family apart and invokes separate experiences of anguish, denial, and self-blame. Marital problems and delinquency in Ben's older brother (in charge of him the day of his kidnapping) ensue. Mitchard depicts the family's friction and torment--along with many gritty realities of family life--with the candor of a journalist and compassion of someone who has seemingly been there. International publishing and movie rights sold fast on this one: It's a blockbuster.Few first novels receive the kind of attention and acclaim showered on this powerful storyâ€"a nationwide bestseller, a critical success, and the first title chosen for Oprah's Book Club. Both highly suspenseful and deeply moving, The Deep End of the Ocean imagines every mother's worst nightmareâ€"the disappearance of a childâ€"as it explores a family's struggle to en! dure, even against extraordinary odds. Filled with compassion,! humor, and brilliant observations about the texture of real life, here is a story of rare power, one that will touch readers' hearts and make them celebrate the emotions that make us all one.Elmer Bernstein's moody piano complemented by an alternately somber and lighthearted symphony is the musical equivalent to boilerplate. So many scores contain these same properties that one is tempted to overlook the beautiful orchestration and just fault the composer for being too unoriginal. In keeping with the film's story of family dysfunction and an abducted child, Bernstein uses his instruments to stress what he calls "childhood memories," accented by a competent fusion of harps, bells, and often skip-happy arrangements intended to be unobtrusive. A departure from the humdrum side of soundtrack art it is not, but Bernstein deserves kudos for opting for traditional instruments (instead of a synthesizer) to complement this sensitive story of the "delicate balance" in human relationships. --Joseph LanzaDEEP END OF THE OCEAN - DVD MovieBeth Cappadora (Michelle Pfeiffer) is at her high school reunion when her 3-year-old son disappears from his brother's care. The little boy never turns up, and the family has to deal with the devastating guilt and grief that goes along with it. Nine years later, the family has relocated to Chicago. By a sheer fluke, the kid turns up, living no more than two blocks away. The authorities swoop down and return the kid to his biological parents, but things are far from being that simple. The boy grew up around what he has called his father, while his new family are strangers to him; the older son, now a teenager, has brushes with the law and behavioral problems. His adjustment to his lost brother is complicated by normal teenage churlishness, and the dad (Treat Williams) seems to expect everything to fall into place as though the family had been intact all along. It's a tightrope routine for actors in a story like this, being ! careful not to chew the scenery while at the same time not bei! ng too f laccid or understated. For the most part, the members of the cast deal well with the emotional complexity of their roles. Though the story stretches credulity, weirder things do happen in the real world. The family's pain for the first half of the film is certainly credible, though the second half almost seems like a different movie. Whoopi Goldberg plays the detective assigned to the case; casting her is a bit of a stretch, but she makes it work. All in all, a decent three-hanky movie in the vein of Ordinary People. --Jerry Renshaw

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Famous Stars and Straps Men's Filth & Fury Hat, Black/White/Red, Large/X-Large

• Doin our own thing since 99'
• Making noise and influencing people

"Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of working-class Brits won't leave you disappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band memb! ers to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday."Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of worki! ng-class Brits won't leave you disappointed. The Sex Pistols ! left the ir legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band members to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, ! which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday. --Sean Axmaker

The official companion to the Fine Line Features documentary film.

The Sex Pistols burst onto the music scene in 1976 and smashed up everything they touched. Their revolutionary sound energized disaffected youth worldwide while their larger-than-life singer, John Lydon (aka Johnny Rotten), and bass player, Sid Vicious, captured headlines throughout the Pistols' twenty-six-month reign as the lads who created punk.

For the first time, John Lydon, Paul Cook, Glen Matlock, Steve Jones, and Sid Vicious tell their story together in their own words through new interviews and archival material. Raw and engaging, T! he Filth and the Fury captures the emotions and egos that ! fueled t he Pistols' rise to fame and ultimately brought them down.

Dive from the stage into The Filth and the Fury.

"Ever get the feeling you've been cheated?" sneers Johnny Rotten at the Sex Pistols' farewell performance. After seeing this picture you'll understand his disgust, but Julian Temple's sharp portrait of the ragged, raw band of working-class Brits won't leave you disappointed. The Sex Pistols left their legacy in a whirlwind 26-month reign, spitting out a caustic, confrontational brand of rock & roll that became the rallying cry for angry, disaffected youths in late 1970s England and defined the punk movement. Their story was first told two decades ago in the cynical The Great Rock and Roll Swindle, also directed by Temple but produced by the Sex Pistols' smarmy manager, Malcolm McLaren, who stage-managed the film into a self-promoting vanity project. For The Filth and the Fury, Temple turns to the four surviving band mem! bers to tell their own stories. His vibrant, vigorous direction captures the period of social unrest and alienated youth without turning into a history lesson, and shows the Pistols in all their insolent glory: spewing obscenities and gesturing lewdly to audiences and press alike, screaming out lyrics, overcoming musical limitations with pure passion and attitude. Rare, raw concert footage (including their final performance, which is appropriately enough the song "No Fun") and previously unseen interviews with the deceased Sid Vicious further energize the portrait. There's even footage of the smiling band cutting cake for kids at a fundraiser with nary a nasty gesture or sneering comment. Now there's a side of the Pistols you don't see everyday. --Sean AxmakerMen's flex fit hat with front embroidery and screen printed undervisor

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The Disappearance of Alice Creed

• DISAPPEARANCE OF ALICE CREED, THE (DVD MOVIE)

On a suburban street, two masked men seize a young woman. They bind and gag her and take her to an abandoned, soundproofed apartment. She is Alice Creed (Gemma Arterton), daughter of a millionaire. Her kidnappers, the coldly efficient Vic (Eddie Marsan) and his younger accomplice Danny (Martin Compston), have worked out a meticulous plan. But Alice is not going to play the perfect victim â€" she’s not giving in without a fight. In a tense power-play of greed, duplicity and survival we discover that sometimes disappearances can be deceptive…The British thriller The Disappearance of Alice Creed is a taut exercise in psychological manipulation, driven by three forceful performances, most notably actress Gemma Arteton (Clash of the Titans) as the titular abductee. On the surface, Disappearance seems to be cut from familiar ! cloth: ex-cons Eddie Marsan (Sherlock Holmes) and Martin Compston plot out and then execute the kidnapping of Arteton, the daughter of a wealthy businessman, for a sizable ransom. But as the minutes tick by in their dreary holding cell of a flat, relationships develop in unexpected ways, as do shifts in allegiances and motivations. To reveal these seismic changes would be to unleash spoilers of epic proportions, but suffice it to say that few will have expected the film's frenzied conclusion. Directed by first-timer J Blakeson with an eye towards pacing and atmosphere, The Disappearance of Alice Creed should please fans of adult suspense pictures with its smart scripting (by Blakeson) and fearless turns by its cast, especially Arteton in a role that requires her to play, by turns, victim and perpetrator; the DVD includes commentary by Blakeson, who discusses his influences (among them, Alien, interestingly enough), as well as two extended scenes with co! mmentary and a collection of comic outtakes. A five-minute sto! ryboard comparison, which shows preproduction sketches of the opening alongside the finished product, and the stateside trailer round out the extras. --Paul Gaita

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Chicken Little

• Experience a fantastic world of breathtaking action in Disney's hilarious new movie CHICKEN LITTLE. It's "the perfect family film," raves Scott Mantz of Access Hollywood. When the sky really is falling and sanity has flown the coop, who will rise to save the day? Together with his hysterical band of misfit friends, Chicken Little must hatch a plan to save the planet from alien invasion and

Experience a fantastic world of breathtaking action in Disney's hilarious new movie CHICKEN LITTLE. It's "the perfect family film," raves Scott Mantz of Access Hollywood. When the sky really is falling and sanity has flown the coop, who will rise to save the day? Together with his hysterical band of misfit friends, Chicken Little must hatch a plan to save the planet from alien invasion and prove that the world's biggest hero is a little chicken. Overflowing with incredible music and bursting with exciting! bonus features, including alternate openings, an exclusive "making of" featurette, games, and much more, this sensational DVD is truly something to cluck about.A classic fable gets fused with War of the Worlds in Disney's Chicken Little. In the small town of Oakey Oaks, young Chicken Little (voiced by Zach Braff, Garden State) struggles to live down the embarrassment of having once thought the sky was falling. But when he gets struck again by a hexagonal, sky-camouflaged, hi-tech doohickey, he and his friends Ugly Duckling (Joan Cusack, School of Rock), Runt of the Litter (Steve Zahn, Sahara), and Fish Out of Water discover that aliens are preparing to invade Earth--but since no one believed Chicken Little the first time, why would they believe him now? Though kids will enjoy the bright whizz-bang action sequences of Chicken Little, discerning parents will find the movie tedious. Technically, it has the computer animation quality o! f Pixar--but with none of their intelligence, heart, or simple! storyte lling skill. The basic idea of connecting the fable to aliens is amusing, but the script routinely bogs down in clumsy father-son issues that seem like material edited out of Finding Nemo. The jokes rarely have anything to do with the characters, but are mostly pop-culture references that are sadly out of date. The action sequences were obviously created with the inevitable video game in mind, for which the movie is little more than an advertisement. Chicken Little falls flat. --Bret Fetzer

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God's Army (Two-Disc Deluxe Edition)

• New Widescreen Digital Transfer
• New Audio Commentary
• Never Before Seen Deleted Scenes
• Outtakes
• "The Making of God's Army" Featurette

Studio: Victor Multimedia-05 Release Date: 11/14/2006Rookie missionary Brandon Allen confronts the challenges of missionary life in Los Angeles, soon realizing that his most important convert may be himself.

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