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As Mel Brooks's The Producers returns to the big screen where it began, this soundtrack completes a trilogy of sorts that also includes the original 1968 movie soundtrack and the 2001 original cast recording. Broadway director Susan Stroman is still at the helm, and budgets being larger in Hollywood than on the Great White Way, Douglas Besterman polishes his own orchestrations to a luscious sheen. The Broadway principals also make the trip, including leads Nathan Lane as Max Bialystock and Matthew Broderick as Leo Bloom; both could probably play these parts in their sleep by now, but they still go at it with ferocious energy. Castwise, the two big changes are Uma Thurman as Swedish bombshell Ulla and Will Ferrell as Nazi writer Franz Liebkind. Thurman does well enough on "When You Got It, Flaunt It," but she flounders a bit on her contribution to "That Face," Brooks's excellent tribute to 1950s MGM musicals. Ferrell displays natural musical chops, as evidenced by his "Der Guten Tag Clog-Hop," which pops up again as the horrifyingly cheesy "The Hop-Clop Goes On." (All these years playing inept music teacher Marty Culp on Saturday Night Live must have helped.) Other changes from the show include the addition of a new song, "There's Nothing Like a Show on Broadway" (performed by Lane and Broderick); the Bialystock track "The King of Broadway," which appears at the very beginning of the show, was cut from the film but pops up as a bonus track. In the end, no matter which version you prefer, The Producers endures as a comic supernova. --Elisabeth Vincentelli |
For their third album, the merry pranksters of Bossacucanova are up to their old tricks but the magic is stronger than ever. Brazilian bossa nova was born in the 1960s and soon took the world by storm. Like all great make-out music, it was so laid-back it was virtually prone. But this was a multi-layered phenomenon, an intellectual yet lushly melodic sound constructed over a swaying, subtly irresistible rhythmic undertow. DJ Marcelinho DaLua, bassist Márcio Menescal and keyboardist Alexandre Moreira have been deftly updating the groove's whispery charms, granting it a modern context via audacious, creatively applied beats and electronica. If anything, they've taken the metamorphosis a bit further this time. However, their touch remains reverent, humorous, inventive and miles removed from overkill. Just how this youthful trio has managed to emphasize the style's muted jazz inflections while kicking out the jams is a delightful conundrum and invites repeated listening. --Christina Roden |
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Following Val Kilmer's portrayal of the caped crusader in Batman Forever, the fourth Batman feature stars George Clooney under the pointy-eared cowl, with Chris O'Donnell returning as Robin the Boy Wonder. This time the dynamic duo is up against the nefarious Mr. Freeze (Arnold Schwarzenegger), who is bent on turning the world into an iceberg, and the slyly seductive but highly toxic Poison Ivy (Uma Thurman), who wants to eliminate all animal life and turn the Earth into a gigantic greenhouse. Alicia Silverstone lends a hand as Batgirl, and Elle McPherson plays the thankless role of Batman/Bruce Wayne's fiancée. A sensory assault of dazzling colors, senseless action, and lavish sets run amok, this Batman & Robin offers an overdose of eye candy, but it is strictly for devoted Bat-o-philes. --Jeff Shannon |
Frenchman Jean Valjean (Liam Neeson), imprisoned for stealing bread, is paroled after nearly two decades of hard labor. A gift of silver candlesticks from a kindly priest helps him begin anew. Forging a decent and profitable existence, he finds success as a businessman and as the mayor of a small town. He even takes in a pregnant young woman (Uma Thurman) and raises her daughter as his own. When a former prison guard (Geoffrey Rush) recognizes Valjean, his past catches up to him. Director Bille August culls mesmerizing performances from his cast, but loses us with an ending that panders to teen audiences. The focus shifts dramatically, and uncomfortably, from the haunted Neeson and his hawk-like pursuer, to his daughter (Claire Danes) and her romance with a handsome revolutionary. After this narrative shift, the script leaves behind the Victor Hugo classic's themes of revenge and redemption to focus improbably on teen angst--hardly what Hugo had on his mind. --Rochelle O'Gorman |
This town drama from Ted Demme centers on former classmates coming together for their 10-year reunion. Scott Rosenberg's (Things to Do in Denver When You're Dead) script thoughtfully passes over the usual grumblings of young adults who can't believe they still live in the same snowbound town. They accept--even welcome--their blue-collar jobs, whether plowing snow or cutting hair. Willie (Timothy Hutton), the lone wanderer, returns to his listless house in a state of flux, the piano-bar circuit wearing thin as is his relationship with Tracy, a well-off attorney (Annabeth Gish). He isn't the only one with problems. Tommy (Matt Dillon) occasionally sleeps with his now-married high school sweetheart Darian (Lauren Holly) while the earnest Sharon (Mira Sorvino) is left to wait. Paul (another thickheaded role for Michael Rapaport) refuses to commit to Jan (Martha Plimpton) until it's too late. Paul is enamored with the idea of the supermodel (the title's "beautiful girls") that, he believes, can make life perfect. It's a very satisfying comedy, with some forced poignancy (Willie's description of Tracy as a "seven and a half" comes off as a death sentence). Rosie O'Donnell's dissertation on why Playboy and Penthouse have ruined males' expectations is much like Meg Ryan's orgasm scene in When Harry Met Sally...: it's hilarious, even memorable, never wholly believable.The two wild cards thrown into Beautiful Girls give the film its kick. Uma Thurman enters as the local barkeep's (Pruitt Taylor Vince) radiant cousin. From the big city, she can flirt with the awestruck guys and still keep her head. Willie's real emotional tug is from Marty, the precocious 13-year-old neighbor. If you didn't see Natalie Portman's sophisticated work in the The Professional, her performance here will come as a revelation. You deeply believe that Willie and Marty are connected despite their age difference. Their courtship will never come to be, but the way the two talk (and talk some more) about their lives is the most insightful part of Rosenberg's script. Everyone's so comfortable in his or her roles that you may truly feel sad when the film ends. --Doug Thomas |
The stories of two mob hit men a boxer and a pair of diner bandits intertwine in four tales of violence and redemption. Studio: Buena Vista Home Video Release Date: 06/07/2005 Starring: John Travolta Bruce Willis Run time: 164 minutes Rating: R Director: Quentin Tarentino |
![Kill Bill - Volumes 1 & 2 [Blu-ray] (Amazon.com Exclusive)](http://ecx.images-amazon.com/images/I/51SDiqsZpFL._SL160_.jpg)
Kill Bill: Volume 1 Quentin Tarantino's Kill Bill, Vol. 1, is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain--and this frequently breathtaking movie--with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)--including Lucy Liu and the unseen David Carradine (as Bill)--who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. --Jeff Shannon Kill Bill: Volume 2 "The Bride" (Uma Thurman) gets her satisfaction--and so do we--in Quentin Tarantino's "roaring rampage of revenge," Kill Bill: Volume 2. Where Vol. 1 was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2--not a sequel, but Part Two of a breathtakingly cinematic epic--is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Bill is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3 awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. --Jeff Shannon |
After dispensing with former colleagues o-ren & vernita in kill bill 1 the bride resumes her quest for justice in the series second installment. With those two down she has two remaining foes on her death list to pursue - budd & elle before moving on to her ultimate goal - to kill bill. Studio: Buena Vista Home Video Release Date: 03/28/2008 Starring: Uma Thurman David Carradine Run time: 137 minutes Rating: R |
100% Pedra Uma Caa (Myrcia solicifolia), distilled water and certified organic grain alcohol (40%). |
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Description
Your Selection
You hold in your hands the finest traditional medicine available on earth. This botanical is long standing favorite in South America where it has been empirically selected for its effectiveness over many generations. Only organically cultivated or sustainable wild harvested plants are collected and shipped to our laboratories.
Suggested Use
As a restorative tonic use 10 to 15 drops once or twice a day in a little water.
Supplement Facts
100% Pedra Uma Caa (Myrcia solicifolia), distilled water and certified organic grain alcohol (40%).
Warnings
Information provided on this label should not be used as medical advice. Be sure to test a small amount for possible allergic reactions. Use under the supervision of a licensed healthcare practitioner. Not intended for long-term use. Not intended for pregnant or nursing women. Keep out of reach of children. |
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2005 - Beatrix Kiddo (The Bride, Black Mamba) - Kill Bill Vil 2 - Neca Series 2 Figure - Includes: Sword, Sjeath, Antenna, eyeball & Base - Mint in Package - Collectible - (C) |
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This innovative text features an all-new approach that will change the way you think about reference service. The only reference text to identify the top resources in major subject areas and genres, it shows students how to approach the reference query by matching specific types of question to the most appropriate format (when answering questions that require handy facts, for example, go first to ready reference sources; for questions about current events and issues, start with indexes). Guided by an advisory board and a focus group, the authors have achieved an ideal balance between practical elements and guiding principles. This landmark text is sure to be of interest to LIS educators, students, and both novice and experienced reference professionals. |
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The words "crystal ball" usually conjure images of old Gypsy women telling fortunes from the backs of caravan wagons, but Uma Silbey assures us that Gypsies are not the only ones who can master the art of Crystal Ball Gazing. Based on her 30-plus years of experience working with crystals, Crystal Ball Gazing has a personal feel, so it doesn't read like a technical manual. Almost half of the book is devoted to helping choose the right crystal ball for the job. (Focusing on healing? Try using amethyst.) Crystal Ball Gazing is not just about divination, though; Silbey offers plenty of practical applications such as relaxation. Like any tool, crystal balls can be of immense benefit if used properly, and Silbey shows just how to get the most out of yours. --Brian Patterson |
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