Thursday, November 17, 2011

True Religion Women's Billy Straight Leg Jean, Body Rinse, 28

Casa de Los Babys 20x26 Framed and Double Matted Movie Poster - Style A

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Director John Sayles has long excelled in films driven by character-rich interpersonal relationships, and this tale of six disparate women who find themselves thrown together in a South American motel waiting for bureaucrats to process their adoption papers for a local orphanage is no exception. Sayles obviously handpicked this diverse collection of songs and styles to underscore the tropical mood and rich emotional tenor of his story, but his selections also display a playful delight in willfully debunking various Latin music sterotypes as well. The retro doo-wop of Las Zafiras, sultry ballads of Broadway star Rita Moreno and spare modernism of Lhasa prove that influences migrate freely b! oth ways across the equator, while Carlos Puebla and Ruben Blades display the compassion beneath their oft-politicized music. The collaborations of Mason Daring and Claudio Ragazzi (including the Moreno-performed "Quien Sera") further underscore the sense of pan-American richness that informs this compelling soundtrack from first cut to last. -- Jerry McCulleyAcclaimed filmmaker John Sayles captures six American women at one of the most emotionally charged moments of their liveseach on the verge of adopting a babyin this "compelling" (Chicago Tribune) drama set against the backdrop of a Latin-American town. Featuring an "inspired" (The Miami Herald) all-star cast, this poignant look at fate, maternity and clashing cultures is "as rich in ideas as it is in fine acting" (Los Angeles Daily News).John Sayles brings observant compassion and calm insight to Casa de los Babys, a fiercely independent film with a peerless ensemble cast. Dispensing with traditional s! torytelling to focus instead on the turbulent emotions surroun! ding the adoption of babies by American women in an unnamed South American country (filmed in Acapulco, Mexico), Sayles takes an unobtrusive approach to their dilemmas, listening (and filming) like an understanding friend to these hopeful women, who are either bound or separated by their disparate personalities. Sayles also covers both sides of the adoption equation by including a Latina mother (Vanessa Martinez), certain that her baby will enjoy a better life with adoptive American parents, but still struggling with the anguish of her sacrifice. This isn't on par with Sayles's best work (and reviews were predictably mixed), but there's not a false note anywhere, and the cast (including Daryl Hannah, Marcia Gay Harden, Maggie Gyllenhaal, Lili Taylor, Susan Lynch and Mary Steenburgen) is uniformly superb. Sayles isn't playing social commentator here, and that's to his credit. Instead, Casa de los Babys is a sensitive film about a sensitive subject, allowing viewers to draw the! ir own conclusions. --Jeff ShannonAcclaimed filmmaker John Sayles captures six American women at one of the most emotionally charged moments of their lives--each on the verge of adopting a baby--in this compelling drama set against the backdrop of a Latin American town. Featuring an inspired all-star cast, this poignant look at fate, maternity and clashing cultures is as rich in ideas as it is in fine acting.La organización que representa a los mejores pediatras de la nación, así como a las investigaciones y procedimientos más avanzados y actualizados en el área de los cuidados infantiles, responde a todas sus preguntas sobre la salud y educación de su hijo. Encontrará consejos útiles y tranquilizadores para educar y cuidar de su hijo, que abarcan desde los preparativos para el nacimiento del bebé y cómo enseñarle a su hijo a usar el baño, hasta cómo fomentar su autoestima.

También encontrará una guía indispensable para identificar y tratar lo! s problemas de salud más comunes durante la niñez, así como! instruc ciones detalladas para saber actuar en situaciones de emergencia.

Completo, preciso y actualizado, El cuidado de su hijo pequeño le ofrece:

• Recomendaciones fundamentales para cuidar de su hijo desde la lactancia hasta los cinco años

• Una guía sobre los logros evolutivos en los aspectos físico, emocional, social y cognoscitivo

• Una enciclopedia completa sobre salud infantil: lesiones, enfermedades, anomalías congénitas y otras discapacidades

• Consejos útiles para la seguridad de su hijo, dentro y fuera de casa, y en el auto

• Recomendaciones para elegir un buen programa de cuidado infantil

• Reflexiones sobre temas familiares, como la rivalidad entre hermanos, adopción, formación de una segunda familia y consejos prácticos para las madres que trabajan fuera de casa

• Y mucho más

Wednesday, November 16, 2011

Burke and Hare

Touch the Sound - A Sound Journey With Evelyn Glennie

  • In RIVERS AND TIDES, German documentarian Thomas Riedelsheimer explored the enchanting and hypnotic "nature" art-installations of Andy Goldsworthy. Now, with TOUCH THE SOUND, he turns his camera on nearly deaf percussionist Evelyn Glennie, who experiences sound as a kind of touching or vibration. Using Glennie's unique musical sensibilities as a jumping-off point, Riedelsheimer introduces the
From the director of Driving Miss Daisy comes this compelling, heartwarming and inspiring true story of a father (Pierce Brosnan) who faces impossible odds to keep his family together. Times are tough in Dublin, Ireland. But no one has it tougher than Desmond Doyle when his wife runs off and his beloved daughter Evelyn and two young sons are sent to an orphanage by the government.Enlisting the help of loyal friends (Julianna Margulies, Stephen Rea) and a feisty American lawyer (Aidan Quinn), he takes his! case to Ireland's Supreme Court in a history-making quest to topple an ironclad law and win back the custody of his children!With a gentle tug at the heartstrings, Evelyn tells the true story of an imperfect father whose devotion brought much-needed change to rigid Irish law. It's a labor of love for star and coproducer Pierce Brosnan, who brings just the right touch of Everyman charm to his role as Desmond Doyle, a struggling Dublin tradesman, father of three, and chronic pub-crawler whose wife abandons their family the day after Christmas, 1953. Desmond's a loving father who's boyishly irresponsible; Irish law dictates the removal of his children to stern Catholic orphanages, and his battle for custody is aided by two lawyers (Stephen Rea, Aidan Quinn) who seize this opportunity to revolutionize the courts. With straightforward, unobtrusive style, director Bruce Beresford draws fine performances from Brosnan, Julianna Margulies (as a barmaid who inspires Desmond's! sobriety), and especially young Sophie Vavasseur in the title! role as Desmond's bright, determined daughter. Sentimental without being saccharine, Evelyn is simple, well made, and bursting with genuine Irish spirit. --Jeff ShannonIncludes an afterword by award-winning author Neil Gaiman! Enthusiasts of genuine tragedy and celebrity intrique, gird your mental loins for an authentic tale of unbelievable hardship and epic catastrophe! This wholly true and accurate account details the extraordinary lives of Evelyn and Evelyn, a darling but unfortunate pair of conjoined twins who brave extreme circumstances of calamity and adversity, such as the bizarre and bloody night of their birth and subsequent orphaning; their early years on a chicken farm; shocking encounters with depraved gentlemen; life in the circus; the terrible fates of their dearest friends; and concluding with the sisters'' rise to international fame via the internet!

With a keen eye for the absurd, Evelyn Waugh took unerring aim at the foibles of British society. T! his collection brings together faithful adaptations of two of his most brilliant--and biting--satires.

A Handful of Dust In this Oscar®-nominated, grimly comic tale set among the idle rich, Kristin Scott Thomas (The English Patient) and James Wilby (Howard’s End) portray Brenda and Tony Last, a couple whose lives slowly unravel after Brenda takes a lover to relieve her boredom. Also starring Rupert Graves (A Room with a View), Anjelica Huston, Alec Guinness, Stephen Fry, and Judi Dench in a BAFTA-winning role.

Scoop A naïve newspaper reporter tries to cover "a promising little war" in a tiny, remote African republic. Timelessly relevant, this pitch-perfect farce mercilessly skewers politicians, the press, and a gullible public. Starring Michael Maloney (Truly, Madly, Deeply), Denholm Elliott (Indiana Jones and the Last Crusade), and Donald Pleasence (Halloween).

DVD FEATURES INCLUDE biography of Ev! elyn Waugh and cast filmographies.TOUCH THE SOUND - DVD MovieS! ubtitled "A Sound Journey with Evelyn Glennie," German director Thomas Riedelsheimer's exquisite Touch the Sound is nominally a portrait of the Scottish musician known as "the first full-time solo percussionist." Glennie is certainly a fascinating subject. Profoundly deaf since childhood, she disdains the use of hearing aids and sign language, relying instead on lip reading and, more crucially, on the use of all of her senses, especially touch, to "hear" with her entire body. The film reveals Glennie's extraordinary skills in a variety of settings: playing a snare drum for bemused New Yorkers in cavernous Grand Central Station; improvising with guitarist Fred Frith in an empty warehouse in Cologne, Germany (their final vibes-guitar duet is one of the film's musical highlights); working with hearing-impaired students in her native Aberdeenshire; jamming with taiko drummers in Japan, and later delighting customers in a Tokyo bar with a spontaneous workout involving chopsticks, ! dishes, cans, and glassware (the woman can make music with virtually anything). But Riedelsheimer, who was also the film's editor and cinematographer, has a broader agenda here--namely, to intensify our awareness of the sounds that surround us everywhere, in every moment. From the streets of New York to the beaches of Santa Cruz, from the rocky Scottish coastline to a tranquil Japanese rock garden, he links heightened audio, as clear and natural as the best ECM recordings, to a succession of gorgeous visual images to create a balance of complex detail and overall sparseness, resulting in a kind of Zen feast. Even more of the same is found in a "making of" featurette that's the highlight of the bonus material, making Touch the Sound easily one of the most rewarding documentaries in recent years. --Sam Graham

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Overworked Manhattan coffee shop waitress Bella isn't looking forward to her 35th birthday. Stuck in a relationship with a married man for far too long, Bella takes a chance on frustrated novelist/taxi driver Bruno. Determined not to scare yet another man off with her dreams of marriage and family, Bella plays it cool and tells Bruno she hates children. A tough break for the womanizer since his ex-wife has just dumped two small children on him ... In her coffee shop world, Bella witnesses she's not ! alone in the bittersweet battle against romance's difficulties. Shy widower Paul struggles through the tender courtship of lively widow Emily. Ornery old Seymour gets a magical shot of youth when he falls for a sexy exotic dancer. Despite love's accompanying twists and turns, everyone holds out for the best. And the persistent Bella discovers fairy tales can come true...even in New York City. Louise Lasser and Robert Modicka put their hearts into the story of a 60-ish couple trying to make a go of it, regardless of his friends' ridicule and her low self-esteem. Their honest acting nearly gives this failed attempt at a Woody Allen-style episode of Friends needed humanity. The problem? Lasser and Modicka are not the lead actors in this film, whose tritely punning title is about the extent of writer-director Amos Kollek's wit. Anna Thomson is the ostensible heroine in this story about the denizens of a New York City diner and their romantic travails. The 35-year-old wai! tress, unlucky in life and love, seems such a candidate for lo! ng-term therapy that her unconventional outlook isn't so much profoundly sympathetic as simply pathetic. Kollek also stretches credulity by allowing a sex-show performer to melt at the badgering appearances of one of her "clients," the creepiest of the whole lot. --Kevin FilipskiFood, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.

Q&A with Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlo! sser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.

How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ ye! ars.  It has taken a lot longer than we expected because we w! ere deni ed access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibl! y influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even though he’s not guilty of anything.  Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking! . And that was my biggest surprise.

So, what d! oes our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies! that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial int! erest involved, these companies would rather make the money an! d be sue d than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contemplating whether or not to label meat and milk from cloned cows.  It seems very basic that consumers should have the right to know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways! of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year.  The typical meatpacking worker has a similar background but earns about twice that amount.  A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speak! ing workers?
Kenner:
The same thing that created! obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives.  And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desper! ate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that ! science is used … and for whose benefit.

Can! a perso n eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast food is very reasonably priced.  Coke is selling for less than water.  So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in ! the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time.  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get! involved and help change the system, what would you suggest t! hey do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it i! s something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food system in a generation.

For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angl! es, talking to authors, advocates, farmers, and CEOs, like co-! producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner t! akes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

Tuesday, November 15, 2011

American Cannibal - The Documentary

EDtv : Widescreen Edition

  • Widescreen
Video store clerk Ed agrees to have his life filmed by a camera crew for a TV network.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 4-MAR-2003
Media Type: DVDThe third entry of 1998-99's cinematic TV trilogy kind of got lost in the shuffle following The Truman Show, an art film masquerading as a blockbuster, and Pleasantville, a heartfelt feel-good movie masquerading as a special-effects extravaganza. EDtv is nothing more than it appears: a scruffy comedy about fame and its discontents. Matthew McConaughey stars as Ed, a white-trash rube who gets his own dawn-to-midnight TV series in which every aspect of his life, no matter how sordid or dull or embarrassing, becomes mass entertainment (it inverts Truman by having the protagonist invite the pervasive cameras). Predictably, fame makes him miserable and, un! surprisingly, he finds a way out of his predicament. Albert Brooks covered this same territory in the funnier Real Life, and it's probably not the best idea for a load of comfy celebs to preach to us about how difficult fame is. But the film is cannily cast, including a number of performers who themselves have fallen victim to stupid media tricks (McConaughey, Ellen DeGeneres as the network executive, Elizabeth Hurley as a vamp hitching her star to Ed's, and Woody Harrelson as Ed's even dumber brother). Structurally, the movie is a mess. It looks as if the filmmakers had the choice between making a fully realized, two-and-a-half-hour-long movie that no one would sit through or one that clocks in under two hours but has a lot of plot holes; they opted for the latter (Hurley's character disappears, practically without comment). Still, there are enough laughs to keep things moving, and as a shaggy dog tale it's decent fun. --David KronkeThe third entry of 1998-99! 's cinematic TV trilogy kind of got lost in the shuffle follow! ing T he Truman Show, an art film masquerading as a blockbuster, and Pleasantville, a heartfelt feel-good movie masquerading as a special-effects extravaganza. EDtv is nothing more than it appears: a scruffy comedy about fame and its discontents. Matthew McConaughey stars as Ed, a white-trash rube who gets his own dawn-to-midnight TV series in which every aspect of his life, no matter how sordid or dull or embarrassing, becomes mass entertainment (it inverts Truman by having the protagonist invite the pervasive cameras). Predictably, fame makes him miserable and, unsurprisingly, he finds a way out of his predicament. Albert Brooks covered this same territory in the funnier Real Life, and it's probably not the best idea for a load of comfy celebs to preach to us about how difficult fame is. But the film is cannily cast, including a number of performers who themselves have fallen victim to stupid media tricks (McConaughey, Ellen DeGeneres as the netwo! rk executive, Elizabeth Hurley as a vamp hitching her star to Ed's, and Woody Harrelson as Ed's even dumber brother). Structurally, the movie is a mess. It looks as if the filmmakers had the choice between making a fully realized, two-and-a-half-hour-long movie that no one would sit through or one that clocks in under two hours but has a lot of plot holes; they opted for the latter (Hurley's character disappears, practically without comment). Still, there are enough laughs to keep things moving, and as a shaggy dog tale it's decent fun. --David KronkeIt's the unforgettable story of a nobody...that everybody's watching! Matthew McConaughey and Jenna Elfman star in this hilarious romantic comedy Joel Siegel of Good Morning America calls "Big-Laugh Funny."

Ed Pekurny (McConaughey) is just a regular guy who feels he has nothing to lose by agreeing to be a star of a new reality-based TV show. Almost overnight, the program becomes a hit, and suddenly this goofy but ! engaging video clerk is a national celebrity! Everything's fab! ulous... until Ed falls head-over-heels for Shari (Elfman), the girlfriend of his brother Ray (Woody Harrelson). Suddenly their most private moments become public entertainment - and the ratings go through the roof - as millions of fans tune in to watch a real soap opera filled with comedy and romance.

Superbly directed by Ron Howard and featuring a stellar supporting cast including Elizabeth Hurley, Sally Kirkland, Martin Landau, Ellen DeGeneres, Rob Reiner and Dennis Hopper, EDtv is an outrageous look at instant fame, overnight success, and sharing your life with a few million of your closest fans.The third entry of 1998-99's cinematic TV trilogy kind of got lost in the shuffle following The Truman Show, an art film masquerading as a blockbuster, and Pleasantville, a heartfelt feel-good movie masquerading as a special-effects extravaganza. EDtv is nothing more than it appears: a scruffy comedy about fame and its discontents. Matthew McConaughey stars as ! Ed, a white-trash rube who gets his own dawn-to-midnight TV series in which every aspect of his life, no matter how sordid or dull or embarrassing, becomes mass entertainment (it inverts Truman by having the protagonist invite the pervasive cameras). Predictably, fame makes him miserable and, unsurprisingly, he finds a way out of his predicament. Albert Brooks covered this same territory in the funnier Real Life, and it's probably not the best idea for a load of comfy celebs to preach to us about how difficult fame is. But the film is cannily cast, including a number of performers who themselves have fallen victim to stupid media tricks (McConaughey, Ellen DeGeneres as the network executive, Elizabeth Hurley as a vamp hitching her star to Ed's, and Woody Harrelson as Ed's even dumber brother). Structurally, the movie is a mess. It looks as if the filmmakers had the choice between making a fully realized, two-and-a-half-hour-long movie that no one would sit thr! ough or one that clocks in under two hours but has a lot of pl! ot holes ; they opted for the latter (Hurley's character disappears, practically without comment). Still, there are enough laughs to keep things moving, and as a shaggy dog tale it's decent fun. --David Kronkedvd

Endgame, Vol. 1: The Problem of Civilization

  • ISBN13: 9781583227305
  • Condition: New
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Greece isn't the only country drowning in debt. The Debt Supercycleâ€"when the easily managed, decades-long growth of debt results in a massive sovereign debt and credit crisisâ€"is affecting developed countries around the world, including the United States. For these countries, there are only two options, and neither is goodâ€"restructure the debt or reduce it through austerity measures. Endgame details the Debt Supercycle and the sovereign debt crisis, and shows that, while there are no good choices, the worst choice would be to ignore the deleveraging resulting from the credit crisis. The book:
  • Reveals why the world economy is in for an extended period of sluggis! h growth, high unemployment, and volatile markets punctuated by persistent recessions
  • Reviews global markets, trends in population, government policies, and currencies

Around the world, countries are faced with difficult choices. Endgame provides a framework for making those choices.

Q&A with Authors John Mauldin and Jonathan Tepper

Author John Mauldin
What is the debt supercycle?
Over a period of about sixty years, debt levels grew faster than incomes. This increase in debt became particularly pronounced in the 1980s, 90s a! nd finally went parabolic after the Federal Reserve lowere! d intere st rates to 1% after the Nasdaq crash. The increase in debt was not just a US phenomenon. As interest rates fell structurally with the fall in inflation from 1982 onwards, people took on more debt because it became more manageable. However, by 2008 the burden of debt became too much to bear and the debt supercycle came to an end. People started deleveraging and banks started collapsing due to low levels of capital and large losses from loans people couldn't pay back.

How does the sovereign debt crisis play into this?
The rapid contraction in debt levels due to default and deleveraging lead to a fall in economic activity as people started saving and cutting spending. Governments immediately stepped in and backed bank debt with explicit guarantees. Governments also started borrowing and spending to transfer money to the private sector, for example via unemployment insurance. So in a very real sense, private borrowing was replaced wit! h public borrowing. Debt was added onto more debt. Rather than free itself of debt, the system now has more debt. The sovereign debt crisis is the recognition that most of this debt will not be paid back, and governments are making promises to pay debt and other obligations, for example general spending and pensions, that they simply lack the ability to fulfill.

What is the impact of the end of the debt supercycle?
Author Jonathan Tepper
The end of the debt supercycle and the beginning of the sovereign debt crisis present problems and challenges for investors and governments. Governments will need to either 1) inflate, 2) default or 3) d! evalue, which is similar to inflate. That is the way governme! nts have historically dealt with too much debt. Some countries will experience deflation and others inflation, depending on what choices governments make. Currently governments have only bad and worse choices. Let's hope they can choose wisely.

What do you predict for the next ten years?
Central banks globally have shown a predisposition to print money to solve problems. We forsee rising inflation in many parts of the world, reductions in real income as people lose purchasing power due to higher food and fuel prices and more macroeconomic volatility. Some countries that do not control their own money supply or are running pegs may experience deflation as they are forced to delever and cannot increase the money supply to counteract the weight of deleveraging.

You cite the events in Greece as an example of a country continuing to run massive deficits. Is there an example of a country making a better choice?
The UK is making some of the right steps to control spending, but even the UK could be more draconian. In nominal and real terms, government spending in aggregate will not be cut in the UK. Also, Iceland has made positive steps by defaulting on its debt effectively. Default is a good way to cure too much debt.
Endgame is acclaimed biographer Frank Brady’s decades-in-the-making tracing of the meteoric ascentâ€"and confounding descentâ€"of enigmatic genius Bobby Fischer.  Only Brady, who met Fischer when the prodigy was only 10 and shared with him some of his most dramatic triumphs, could have written this book, which has much to say about the nature of American celebrity and the distorting effects of fame.  Drawing from Fischer family archives, recently released FBI files, and Bobby’s own emails, this account is unique in that it limns Fischer’s entire lifeâ€"an odyssey that took the Brooklyn-raised chess champion from a! n impoverished childhood to the covers of Time, Life an! d New sweek to recognition as “the most famous man in the world” to notorious recluse.
 
At first all one noticed was how gifted Fischer was.  Possessing a 181 I.Q. and remarkable powers of concentration, Bobby memorized hundreds of chess books in several languages, and he was only 13 when he became the youngest chess master in U.S. history.   But his strange behavior started early.  In 1972, at the historic Cold War showdown in Reykjavik, Iceland, where he faced Soviet champion Boris Spassky, Fischer made headlines with hundreds of petty demands that nearly ended the competition.
 
It was merely a prelude to what was to come.
 
Arriving back in the United States to a hero’s welcome, Bobby was mobbed wherever he wentâ€"a figure as exotic and improbable as any American pop culture had yet produced.  No player of a mere “board game” had ever ascended to such heights.  Commercial sponsorship offers poured in, ultimately topping $10 mil! lionâ€"but Bobby demurred.  Instead, he began tithing his limited money to an apocalyptic religion and devouring anti-Semitic literature. 
 
After years of poverty and a stint living on Los Angeles’ Skid Row, Bobby remerged in 1992 to play Spassky in a multi-million dollar rematchâ€"but the experience only deepened a paranoia that had formed years earlier when he came to believe that the Soviets wanted him dead for taking away “their” title.  When the dust settled, Bobby was a wanted manâ€"transformed into an international fugitive because of his decision to play in Montenegro despite U.S. sanctions.  Fearing for his life, traveling with bodyguards, and wearing a long leather coat to ward off knife attacks, Bobby lived the life of a celebrity fugitive â€" one drawn increasingly to the bizarre.  Mafiosi, Nazis, odd attempts to breed an heir who could perpetuate his chess-genius DNAâ€"all are woven into his late-life tapestry.
 
And yet, as B! rady shows, the most notable irony of Bobby Fischer’s strang! e descen t â€" which had reached full plummet by 2005 when he turned down yet another multi-million dollar paydayâ€"is that despite his incomprehensible behavior, there were many who remained fiercely loyal to him.  Why that was so is at least partly the subject of this bookâ€"one that at last answers the question: “Who was Bobby Fischer?”Amazon Best Books of the Month, February 2011: There may be no one more qualified than Frank Brady to write the definitive biography of Bobby Fischer. Brady's Profile of a Prodigy (originally published in 1969) chronicled the chess icon's early years, a selection of 90 games, and (in later editions) his 1972 World Championship match with Boris Spassky. With Endgame, published two years after Fischer's death, Brady's on-and-off proximity to Fischer lends new depth to the latter's full and twisted life story. Though Fischer's pinnacle artistry on the chessboard may often be discussed in the same br! eath with his eventual paranoia and outspoken anti-Semitism, the particular turns and travels of his post-World Championship years (half his life) lend his story most of its vexing oddity: the niggling insistence on seemingly arbitrary conditions for his matches, the years on the lam after flagrantly disregarding U.S. economic sanctions, his incarceration in Japan, his eventual citizenship and quiet demise in Iceland. All told, Fischer's life was like none other, and told through the lens of Brady's personal familiarity and access to new source material, results in an utterly engaging read. --Jason Kirk

Guest Reviewer: Dick Cavett

Dick Cavett is the host of ! “The Dick Cavett Show”---which aired on ABC from 1968 to 1! 975 and on public television from 1977 to 1982---Dick Cavett is the author, most recently, of Talk Show: Confrontations, Pointed Commentary, and Off-Screen Secrets. The co-author of Cavett (1974) and Eye on Cavett (1983), he has also appeared on Broadway in Otherwise Engaged and Into the Woods, and as narrator in The Rocky Horror Show, and has made guest appearances in movies and on TV shows including Forrest Gump and The Simpsons. His column appears in the Opinionator blog on The New York Times website. Mr. Cavett lives in New York City and Montauk, N.Y.

Even if you don’t give a damn about chess, or Bobby Fischer, you’ll find yourself engrossed by Frank Brady‘s book about Fischer, which reads like a novel.

The facts of Bobby’s life (I knew him from several memorable appearances on “The Dick Cavett Show” on both sides of the Big Tournament) are presented in page-turne! r fashion. Poor Bobby was blessed and cursed by his genius, and his story has the arc of a Greek tragedy---with a grim touch of mad King Lear at the end.

The brain power and concentrated days and nights Bobby spent studying the game left much of him undeveloped, unable to join conversations on other subjects. Later in his life, unhappy with his limited knowledge of things beyond the chess board, he compensated with massive study---applying that same hard-butt dedication to other fields: politics, classics, religion, philosophy and more. He found a hide-away nook in a Reykjavic bookstore---barred from his homeland, Iceland had welcomed him back---where he read in marathon sessions. (After he was recognized, he never went back to his cozy cul de sac.)

In Brady’s telling the high drama of the Spassky match quickens the pulse; the contest that made America a chess-crazed land was seen by more people than the Superbowl. People skipped school and played sick ! in vast numbers, glued to watching Shelby Lyman explain what w! as happe ning. The fanaticism was worldwide. The match was seen as a Cold War event, with the time out of mind chess-ruling Russian bear vanquished.

Arguably the best known man on the planet at his triumphant peak, Bobby is later seen in this account riding buses in Los Angeles, able to pay his rent in a dump of an apartment only because his mother sent him her social-security checks. The details of all this are stranger than fiction, as is nearly everything in the life of this much-rewarded, much-tortured genius.

I liked him immensely, knowing only the tall, broad-shouldered, athletically strong and handsome six-foot-something articulate and yes, witty, youth that Bobby was before the evil times set in, with deranged anti-Semitic outbursts and other mental strangeness preceding his too early end at age 64.

I can’t ever forget the moment on the show when in amiable conversation I asked him what, in chess, corresponded to the thrill in another sort of event;! like, say, hitting a homer in baseball. He said it was the moment when you “break the other guy’s ego.” There was a shocked murmur from the audience and the quote went around the world.

Frank Brady’s Endgame is one of those books that makes you want your dinner guests to go the hell home so you can get back to it.

The long-awaited companion piece to Derrick Jensen's immensely popular and highly acclaimed works A Language Older Than Words and The Culture of Make Believe. Accepting the increasingly widespread belief that industrialized culture inevitably erodes the natural world, Endgame sets out to explore how this relationship impels us towards a revolutionary and as-yet undiscovered shift in strategy. Building on a series of simple but increasingly provocative premises, Jensen leaves us hoping for what may be inevitable: a return to agrarian communal life via the disintegration of civilization itself.
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