Wednesday, January 11, 2012

Afterschool

Everything Is Illuminated: A Novel

  • ISBN13: 9780060529703
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

With only a yellowing photograph in hand, a young man -- also named Jonathan Safran Foer -- sets out to find the woman who may or may not have saved his grandfather from the Nazis. Accompanied by an old man haunted by memories of the war; an amorous dog named Sammy Davis, Junior, Junior; and the unforgettable Alex, a young Ukrainian translator who speaks in a sublimely butchered English, Jonathan is led on a quixotic journey over a devastated landscape and into an unexpected past.

The simplest thing would be to describe Everything Is Illuminated, Jonathan Safran Foer's accomplished debut, as a novel about the Holocaust. It is, but that really fails to do justice to the sheer ambition of ! this book. The main story is a grimly familiar one. A young Jewish American--who just happens to be called Jonathan Safran Foer--travels to the Ukraine in the hope of finding the woman who saved his grandfather from the Nazis. He is aided in his search by Alex Perchov, a naïve Ukrainian translator, Alex's grandfather (also called Alex), and a flatulent mongrel dog named Sammy Davis Jr. Jr. On their journey through Eastern Europe's obliterated landscape they unearth facts about the Nazi atrocities and the extent of Ukrainian complicity that have implications for Perchov as well as Safran Foer. This narrative is not, however, recounted from (the character) Jonathan Safran Foer's perspective. It is relayed through a series of letters that Alex sends to Foer. These are written in the kind of broken Russo-English normally reserved for Bond villains or Latka from Taxi. Interspersed between these letters are fragments of a novel by Safran Foer--a wonderfully imagined, almo! st magical realist, account of life in the shtetl before the N! azis des troyed it. These are in turn commented on by Alex, creating an additional metafictional angle to the tale.

If all this sounds a little daunting, don't be put off; Safran Foer is an extremely funny as well as intelligent writer who combines some of the best Jewish folk yarns since Isaac Bashevis Singer with a quite heartbreaking meditation on love, friendship, and loss. --Travis Elborough, Amazon.co.uk

Frankenstein Meets the Wolfman Movie Poster

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  • Will ship in a tube
Studio: Uni Dist Corp. (mca) Release Date: 07/24/2007 Run time: 145 minutes Rating: NrFor the first time ever, the original The Wolf Man film comes to DVD in this extraordinary Legacy Collection. Included in the collection is the original classic, starring the renowned Lon Chaney Jr., and three timeless sequels, featuring legendary actor Bela Lugosi and others. These are the landmark films that inspired an entire genre of movies and continue to be major influences on motion pictures to this day.Universal's first werewolf film falls in the shadow of the 1941 hit The Wolf Man. You might say it's a different animal, as this version carries none of the now-familiar trappings of the wolf-man legend: no wolfsbane, no silver bullets, no gypsy curse. Dr. Wilfrid Glendon (Henry Hull) is a London botanist whose search for a rare flower takes him to a "cur! sed" valley in Tibet where he's mauled in the moonlight by a wolflike creature. Back in London he meets the mysterious Dr. Yogami (a marvelously melancholy performance by Warner Oland), who explains they met once before "in Tibet... in the dark" before asking for a flower from his botanical find, the only antidote for his curse. Glendon scoffs at his stories of werewolves--until he transforms into a hirsute killer under the effect of the full moon. Although leaner and edgier than the famous 1941 Lon Chaney classic, The Werewolf of London stumbles with the corny Scotland Yard investigation of the murder spree and gets sidetracked in the bizarre bickering of two old drunken cronies. But it takes flight in wonderfully imaginative and eerie scenes and striking action sequences, while a Jekyll-and-Hyde dynamic turns a jealous squabble between Glendon and his young wife Lisa (Valerie Hobson) into the tragic twist of the curse: "The werewolf instinctively kills the thing it! loves best." --Sean AxmakerOver 10 years after first t! urning d own the role, Bela Lugosi donned the neck bolts and platform boots to play Frankenstein's monster for the first and only time in Frankenstein Meets the Wolfman. Larry Talbot (Lon Chaney Jr., reprising his most famous role), killed at the end of The Wolf Man, is inexplicably alive and searching for the brilliant Dr. Frankenstein but instead finds the Monster, frozen in ice beneath the castle, and an ambitious scientist (Patric Knowles) who revives the creature and promises to cure Larry. Lugosi is lurching and clumsy as the Monster, while Chaney is appropriately tortured as Larry but stiff and snarly as the Wolf Man, more man than wolf. Last-minute cuts by the studio renders much of the film incomprehensible: the monster was left blind and vocal at the end of Ghost of Frankenstein, but all references to either were deleted (which partly accounts for Lugosi's performance) and he's now sighted but mute. Roy William Neill, a talented B-movie director best kn! own for his Sherlock Holmes films with Basil Rathbone, can't do much with the perfunctory script, but he does deliver a highly entertaining conclusion: the Wolf Man battles the Monster while a spectacular disaster (accomplished with obvious but charming models) wipes the castle off the face of the earth... at least until House of Frankenstein the next year. --Sean AxmakerABBOTT & COSTELLO MEET FRANKENSTEIN - DVD MovieUniversal Pictures made a great deal of money from its monster movies in the 1930s. In the early '40s, the burlesque team of Bud Abbott and Lou Costello kept the studio's coffers full. When the two franchises were combined in 1948, the result was another windfall--despite the apparent oil-and-water mix of subject matter. Abbott and Costello Meet Frankenstein was the first of these summit meetings, although the title is a misnomer. Actually, Bud and Lou bump into most of the Universal heavy-hitters, including Count Dracula (played by Béla L! ugosi himself), the Wolfman (Lon Chaney Jr.), and the Frankens! tein mon ster (veteran monster Glenn Strange). There's even a token appearance by the Invisible Man, whose disembodied voice is recognizable as that of Vincent Price. Sure enough, the film is funny, especially since it gives the portly Costello multiple opportunities to do his wide-eyed, quivering scaredy-cat routine. Audiences ate it up, and in future installments Bud and Lou would run into Boris Karloff, Dr. Jekyll and Mr. Hyde, the Invisible Man, and the Mummy. But the first was the best. --Robert Horton Feature titles include: The Bride of Frankenstein, Frankenstein, The Ghost of Frankenstein, House of Frankenstein, Son of FrankensteinUniversal Pictures made a great deal of money from its monster movies in the 1930s. In the early '40s, the burlesque team of Bud Abbott and Lou Costello kept the studio's coffers full. When the two franchises were combined in 1948, the result was another windfall--despite the apparent oil-and-water mix of subject matter. Abbott and Costel! lo Meet Frankenstein was the first of these summit meetings, although the title is a misnomer. Actually, Bud and Lou bump into most of the Universal heavy-hitters, including Count Dracula (played by Béla Lugosi himself), the Wolfman (Lon Chaney Jr.), and the Frankenstein monster (veteran monster Glenn Strange). There's even a token appearance by the Invisible Man, whose disembodied voice is recognizable as that of Vincent Price. Sure enough, the film is funny, especially since it gives the portly Costello multiple opportunities to do his wide-eyed, quivering scaredy-cat routine. Audiences ate it up, and in future installments Bud and Lou would run into Boris Karloff, Dr. Jekyll and Mr. Hyde, the Invisible Man, and the Mummy. But the first was the best. --Robert Horton Approximately 12x18. Print may show fold marks, tears, stains and blurry text and graphics from reproduction of aged original vintage art print. Great wall decor art print at a fraction of the cost! of an original vintage print.

Ghoulies IV

Angel-A

  • From the director of The Professional and The Fifth Element comes a stunning, sexy tribute to the healing power of love. When Andr , a down-on-his-luck gambler, dives into the icy Seine to end it all, he winds up instead rescuing Angela, a gorgeous, mysterious blonde. Filled with renewed passion for life, they set out to settle Andr 's scores as they wander the City of Lights. Along the way, A
From the director of The Professional and The Fifth Element comes a stunning, sexy tribute to the healing power of love. When André, a down-on-his-luck gambler, dives into the icy Seine to end it all, he winds up instead rescuing Angela, a gorgeous, mysterious blonde. Filled with renewed passion for life, they set out to settle André's scores as they wander the City of Lights. Along the way, André finds himself, but he still has some questions about his leggy, lovely companion -can sh! e really be as heavenly as she seems? Filled with wit, warmth and eye-popping visuals, Angel-A shows just how high you can soar when passion takes flight.It's a Wonderful Life meets Wings of Desire in French director Luc Besson's Angel-A, a surprisingly charming fable of low-life redemption. The low-life in question is André (Jamel Debbouze, from Amelie), a mousy, disheveled Parisian scam artist who's deeply in debt to various underworld thugs. Suicide seems like the best available option, but just as he's about to leap into the Seine, he encounters Angela (Danish model/actress/filmmaker Rie Rasmussen), a leggy blonde beauty who's going to change André's life in ways he never expected. Filmed in gorgeous black and white in a shimmering Paris that seems almost completely depopulated (most of the filming took place in early-morning sunlight), Angel-A is a rough-edged yet ultimately sweet-natured tale of two chatty characters who find new h! ope through mutual devotion, and that's likely to disappoint a! ny Besso n fans who are expecting another high-octane crime thriller like Leon--The Professional. And yet, Besson's tenth film has a light, feathery quality that works in its favor, even when the characters lack interest and their scenes together grow slightly redundant. Debbouze is perfectly cast as a likable loser who deserves a break, and Rasmussen (who memorably appeared in Brian De Palma's Femme Fatale, wearing nothing but lavish diamonds and a killer smile) is, to say the least, angelically seductive. How well you respond to this romantic fantasy will depend on how attracted you are to these characters, but if you give Angel-A a chance, you might find it to be a worthy companion to Richard Linklater's Before Sunrise and Before Sunset, two other appealing films about love, set in, respectively, Vienna and Paris. --Jeff Shannon
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