I’m Not There (Two-Disc Collector’s Edition)
Unapologetically audacious, I’m Not There is more post-modern puzzle than by-the-numbers biopic. A title card sets the scene: “Inspired by the music and many lives of Bob Dylan.” Yet the film features no figure by that name. Instead, writer/director Todd Haynes presents six characters, each incarnating different stages in the artist’s career. Perfume’s Ben Whishaw, a black-clad poet, serves as a slippery sort of narrator. The action begins with the wanderings of an 11-year-old black runaway named “Woody Guthrie” (Marcus Carl Franklin)–his raucous duet with Richie Havens on “Tombstone Blues” is a highlight–and ends with a silver-haired Billy the Kid (Richard Gere) watching the Old West die before his eyes. In the interim, there’s the folk singer-turned-preacher (Christian Bale), the actor (Heath Ledger), and the rock star (Cate Blanchett, who has Don’t Look Back Dylan down to a science). The chronology is purposefully non-linear, and editor Jay Rabinowitz cuts rapidly, Jean-Luc Godard-style, between cinéma vérité black-and-white and saturated color, Richard Lester-like slapstick and Fellini-inspired surrealism (Ed Lachman served as cinematographer).
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Season 1. Stranded on an island that holds many secrets, 48 people must band together if they hope to get home alive. Now you can experience the nonstop excitement and mystery of every episode, from the shows mind-blowing first minute to its spectacular finale, on a 7-disc DVD set.
If you enjoy a good deal of comedy with your SciFi you will probably enjoy Eureka. There certainly are plenty of serious events, but with a regular mix of comedy to keep things from getting to dark. Kind of like the X-Files which had plenty of serious episodes but then were visited by unusual people including “The Lone Gunmen” to keep things in perspective. The second season is a must have for anyone that bought the first. This season continues the investigation of the alien artifact along with the further emersion of Sheriff Jack Carter and Zoe into Eureka’s community.
A remarkably ambitious and engrossing project, this 1978 television miniseries ran 26-and-a-half hours, cost a then-enormous $25 million, and involved 4 directors, 5 cinematographers, and somewhere in the neighborhood of 100 speaking parts. Based on James Michener’s panoramic bestseller about the settling of the American West–as reflected in the history of a fictional town called Centennial, Colorado–the story begins in the late 18th century and ends with a typical 20th century conflict over land usage. Centennial, however, largely concentrates on various memorable frontiersmen, trappers, Indians, ranchers, cowboys, and farmers from long ago. Richard Chamberlain shines as the pioneer Alexander McKeag, Robert Conrad does some of his best work as French-Canadian Pasquinel, and performances by Alex Karras, Chad Everett, Sally Kellerman, Raymond Burr, Richard Crenna, David Janssen, and Dennis Weaver effectively add to a tapestry of adventure, tragedy, violence, and dubious Western progress.
An international soccer star (Eduardo Verastegui) is on his way to sign a multimillion dollar contract when something happens that brings his career to an abrupt end. A beautiful waitress (Tammy Blanchard), struggling to make it in New York City, discovers something about herself that she’s unprepared for. In one irreversible moment, their lives are turned upside down…until a simple gesture of kindness brings them both together, turning an ordinary day into an unforgettable experience.
One key point: if you can get over the natural gag reflex of seeing hundreds of rodents swarming over a restaurant kitchen, you will be free to enjoy the glory of 
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Unmistakably a shot at greatness, Paul Thomas Anderson’s There Will Be Blood succeeds in wild, explosive ways. The film digs into nothing less than the sources of peculiarly American kinds of ambition, corruption, and industry–and makes exhilarating cinema from it all. Although inspired by Upton Sinclair’s 1927 novel Oil!, Anderson has crafted his own take on the material, focusing on a black-eyed, self-made oilman named Daniel Plainview (Daniel Day-Lewis), whose voracious appetite for oil turns him into a California tycoon in the early years of the 20th century. The early reels are a mesmerizing look at the getting of oil from the ground, an intensely physical process that later broadens into Plainview’s equally indomitable urge to control land and power. Curious, diverting episodes accumulate during Plainview’s rise: a mighty derrick fire (a bravura opportunity that Anderson, with the aid of cinematographer Robert Elswit, does not fail to meet), a visit from a long-lost brother (Kevin J. O’Connor), the ongoing involvement of Plainview’s poker-faced adoptive son (Dillon Freasier). As the film progresses, it gravitates toward Plainview’s rivalry with the local representative of God, a preacher named Eli Sunday (brimstone-spitting Paul Dano); religion and capitalism are thus presented not so much as opposing forces but as two sides of the same coin. And the worm in the apple here is less man’s greed than his vanity.
Buy a new outfit. Be a disco diva. Learn to fish. Take a chance. Travel. Laugh. Love. Sometimes all you need to start really living is a little shove in the right direction ? and that?s just what Holly Kennedy gets. From the handsome big-hearted love of her life. From a series of mysterious letters. And from gal pals who know that a friend in need is a friend in need of some laughs! Based on Cecelia Ahern?s joyful bestseller and boasting a top cast led by two-time Academy Award? winner* Hilary Swank and Gerard Butler (300) P.S. I Love You is your very own message full of fun love triumph and romance.
