Monday, November 14, 2011

Munchkin Backseat Organizer, Black

  • Universal system fits most seat backs
  • Durable, easy to clean nylon
  • Stores and organizes car essentials
  • Different sized pockets hold large and small items

Attractive, functional backseat organizer with multiple pockets, mesh pouches, and drink holders. Helps protect seat backs. High quality, durable materials. Easy to clean. Universal system fits most vehicle seat backs.


After.Life

  • AFTER.LIFE (DVD MOVIE)
A young woman caught between life and death.. And a funeral director who appears to have the gift of transitioning the dead but might just be intent on burying her alive. Studio: Tcfhe/anchor Bay/starz Release Date: 08/03/2010 Starring: Christina Ricci Liam Neeson Run time: 104 minutes Rating: R Director: Agnieszka Wojtowicz-voslooQuite a few folks in the movies have seen dead people, especially since The Sixth Sense, but After.Life gives this by-now-familiar conceit an intriguing spin. As director-cowriter Agnieszka Wojtowicz-Vosloo's 2009 film would have it, the deceased aren't exactly dead. At least not yet; in the days between whatever killed them and the moment they're put in a box and lowered six feet under, they're caught in some kind of purgatory, no longer alive but still able to move and communicate. Not to everyone, of course; only Eliot D! eacon (Liam Neeson) has the ability, be it a gift or a curse, to converse with these infernal travelers as he readies them for their final rest in the basement of his funeral home. That's where he meets Anna Taylor (Christina Ricci), who died in a car crash following a nasty argument with her boyfriend, Paul (Justin Long). Anna, not surprisingly, is in denial. How can she be dead, when she can still walk, talk, and experience emotions? Well, it's complicated, but Eliot's there to help her sort it all out--that is, unless he's up to something considerably more sinister, a question that remains in doubt even at the very end. After.Life has a cool concept, a good look, an ominous vibe (driven by former Tangerine Dream member Paul Haslinger's relentlessly spacy, downbeat musical score), and some fine performances. But movies like this depend on the rules and boundaries the filmmakers establish. In The Sixth Sense, those rules ("dead people don't know they're dead,! " etc.) are simple and consistent. Here they're a bit more con! fusing. How can the deceased wield a knife, open a locked door, or even make a phone call? If Anna is dead, why can she still see her breath on a windowpane? The willingness to accept such things may well affect one's appreciation of this very absorbing film. --Sam Graham

LG Dare Silver Phone (Verizon Wireless)

  • Multimedia-oriented smartphone boasting spacious 3-inch touchscreen with handwriting recognition
  • Access Verizon's V Cast Music and Video service via fast EV-DO data network; GPS-enabled for turn-by
  • 3.2-megapixel camera/camcorder with Schneider-Kreuznach lens; Bluetooth stereo streaming; MicroSD ex
  • Up to 4.7 hours of talk time, up to 360 hours (15 days) of standby time; measures 4.1 x 2.2 x 0.5 in
  • Includes: Handset, travel adapter/USB cable, user guide, quick reference guide, music CD
Emmy Rossum (The Phantom of the Opera), Zach Gilford (TV's Friday Night Lights) and Ashley Springer (Teeth) head up a stellar cast including Ana Gasteyer (Mean Girls), Rooney Mara (A Nightmare on Elm Street), comedienne Sandra Bernhard (TV's Roseanne) and Alan Cumming (X2: X-Men United) in this captivating story of high! school seniors at the crossroads of their adult lives. When a pompous actor tells good girl Alexa (Rossum) that she hasn't lived, she embarks on a bold journey that takes her to mysterious bad boy Johnny (Gilford). Envious, her shy best friend Ben (Springer) also dares to pursue Johnny, complicating Alexa's romance and pushing the boundaries among the three friends.

Stills from Dare !


With empathy, low-key h! umor, an d discreet sexual suggestiveness, Adam Salky expands his 2005 short into a critical look at the way stereotypes can define--and confine--teenagers. While working on a senior-class production of A Streetcar Named Desire, three "types" collide: the good girl, the best friend, and the bad boy. Party girl Courtney (Rooney Mara) serves as the glue that binds the unlikely trio. Her studious friend, Alexa (The Phantom of the Opera's Emmy Rossum), doesn't think rich boy Johnny (Zach Gilford) takes things seriously enough. Alexa's other friend, the sexually ambiguous Ben (Teeth's Ashley Springer) supports her at the expense of his own needs, but their roles shift after theater actor Grant Matson (Alan Cumming in a too-short cameo) observes a rehearsal and praises Johnny's naturalism at the expense of Alexa's stiffness (Ben works the lights). The virginal Alexa decides to take Grant's advice to live a little, even seducing Johnny at a party. Their newfound closene! ss strains her relationship with Ben until he acts on a similar impulse, confusing the increasingly vulnerable Johnny further. The speed with which the central characters change doesn't always ring true, but the cast, including Ana Gasteyer as Ben's mother and Sandra Bernhard as Johnny's therapist, invests a schematic scenario with believability. Gilford, in particular, shines in his first significant part since nice-guy quarterback Matt Saracen on NBC's Friday Night Lights. Fans of Pretty in Pink and Cruel Intentions, to which Dare bears some comparison, should find Salky's first feature of particular interest. --Kathleen C. FennessyMultimedia-oriented smartphone boasting spacious 3-inch touchscreen with handwriting recognition. Access Verizon's V Cast Music and Video service via fast EV-DO data network, GPS-enabled for turn-by. 3.2-megapixel camera/camcorder with Schneider-Kreuznach lens, Bluetooth stereo streaming, MicroSD ex. Up to 4.7! hours of talk time, up to 360 hours (15 days) of standby time! , measur es 4.1 x 2.2 x 0.5 in. Includes: Handset, travel adapter/USB cable, user guide, quick reference guide, music CD

Assassin's Creed: Brotherhood

  • Choose from multiple authentic character classes, each with their own signature weapons and killing moves. With richly-detailed maps and a wide variety of unique multiplayer modes, you'll never fight the same way twice
  • As Ezio, a legendary Master Assassin, experience over 15 hours of single player gameplay set in the living, breathing, unpredictable city of Rome
  • Recruit and train promising young Assassins. Deploy them across the city as you see fit, or call upon them to aid you in your quests
  • Collaborate with real historical characters such as Leonardo da Vinci, Niccolo Machiavelli and Caterina Sforza
  • Swiftly eliminate your enemies using tools such as poison darts, parachutes, double hidden blades, hidden guns, and an advanced flying machine at your disposal
Live and breathe as Ezio, a legendary Master Assassin, in his enduring struggle against the powerful T! emplar Order. He must journey into Italy’s greatest city, Rome, center of power, greed and corruption to strike at the heart of the enemy. Defeating the corrupt tyrants entrenched there will require not only strength, but leadership, as Ezio commands an entire Brotherhood who will rally to his side. Only by working together can the Assassins defeat their mortal enemies and prevent the extinction of their Order. And for the first time, introducing a never-before-seen multiplayer layer that allows you to choose from a wide range of Assassin characters, each with their own unique weapons and assassination techniques, and match your skills against other Assassins from around the world. It’s time to join the Brotherhood.
Assassin's Creed: Brotherhood is an epic action game for Xbox 360 set across a blend of present and historical time periods, that places the player in the role of the leader of a Re! naissance-era guild of assassins out for vengeance against the! remnant s of the Knights Templar. Set primarily in Rome, this sequel to the critically acclaimed Assassin's Creed II features returning characters from the previous game and includes new features such as the ability to command members of your guild in combat, a new arsenal of weapons and multiplayer game support in which players can assume different assassin characters.
Assassin's Creed: Brotherhood game logo
Ezio flanked by some of the members of the Assassin's Brotherhood from Assassin's Creed: Brotherhood
Command the members of your assassin's guild in single player and become them in multiplayer.
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Ezio perched on the rim of a ruined collosium of Rome in Assassin's Creed: Brotherhood
Explore the glory and faded grandeur of Renaissance-era Rome.
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Story
Live and breathe as Ezio, a legendary Master Assassin, in his enduring struggle against the powerful Templar order. He must journey into Italy’s greatest city, Rome, center of power, greed and corruption to strike at the heart of the enemy. Defeating the corrupt tyrants entrenched there will require not only strength, but leadership, as Ezio commands an entire brotherhood of assassins who will rally to his side. Only by working together can the assassins defeat their mortal enemies and prevent the extinction of their ord! er.

Multiple Ways to Play
Expanding on the game world woven across the first two games in the franchise, Assassin's Creed: Brotherhood provides players with multiple ways to play. In single player mode you take on an engrossing campaign playing as Ezio, the hero from Assassin's Creed II, who has now risen to the level of Master Assassin. Here players scour the expansive environment of Renaissance-era Rome, tasked with ridding the Eternal City of the continuing stain of the Templars and in the process ensuring the survival of the guild of assassins. You are not in this alone though. Additional AI members of your guild are at your command, and can be summoned to your aid if need be. In addition to this, for the first time in the Assassin's Creed franchise players can compete with other would-be assassins in multiplayer action. In multiplayer modes players choose from a range of Assassin characters, each with their own backstory, unique w! eapons and assassination techniques. Choose your assassin char! acter, u tilize the virtual reality capabilities of Abstergo Industries' Animus technology and match your skills against other assassins from around the world. There's no time like now to join the Brotherhood.

Deadly Weapons Arsenal
Assassin's Creed: Brotherhood features a wide variety of weapons, depending on the mode of play. In single player players primarily utilize Ezio's weapons of choice, the hidden blade and crossbow, while in multiplayer modes players gain access to a wide variety of weapon, depending on the character they choose to play as. Examples of this include: the Axe, wielded by the Executioner; the Fan, used by the Courtesan; the Syringe, the tool by the Doctor; the Dagger, used by the Priest; the Switchblade, carried by the Prowler; and the Claw, used by the Nobleman.

Key Game Features

  • As Ezio, a legendary Master Assassin, experience over 15 hours of single player gameplay set in the living, breathing, unpredictable city! of Rome.
  • Recruit and train promising young Assassins. Deploy them across the city as you see fit, or call upon them to aid you in your quests.
  • Collaborate with real historical characters such as Leonardo da Vinci, Niccolo Machiavelli and Caterina Sforza.
  • Use your hard-won currency to revitalize the crumbling capital city. Rally the citizens to your cause and unlock extra factions and missions.
  • Swiftly eliminate your enemies using tools such as poison darts, parachutes, double hidden blades, hidden guns, and an advanced flying machine at your disposal.
  • Choose from multiple authentic character classes, each with their own signature weapons and killing moves. With richly-detailed maps and a wide variety of unique multiplayer modes, you’ll never fight the same way twice.

Away From Her : Widescreen Edition

  • Widescreen
Married for almost 50 years, Grant's (Gordon Pinsent) and Fiona's (Julie Christie) commitment to each other appears unwavering. Their daily life is filled with tenderness and humor; yet this serenity is broken by Fiona's increasingly evident memory loss - and her restrained references to a past betrayal. For a while, the couple is able to casually dismiss these unwelcome changes. But when neither Fiona nor her husband can deny any longer that she is being consumed by Alzheimer's disease, the couple is forced to wrenchingly redefine the limits of their love and loyalty - and face the complex, inevitable transition from lovers to strangers."I'm going," says a lovely, understated Julie Christie, in a heart-wrenching moment of recognition that Alzheimer's is slowly descending on her. "But I'm not gone." Away from Her, the directorial debut of young Canadian actress Sarah Polle! y, allows two themes--the growth of love, and the limits of the mind--to intertwine, uplift, fall, and rise again, throughout its arc. What should be relentlessly depressing is instead a film of great courage, humor, defiance--and a quality that Christie's character, Fiona, calls out in another defining moment: grace.

Away from Her chronicles a love story between Fiona and her longtime husband, Grant, played with bearlike stolidity by Gordon Pinsett, as the couple struggle with the onset and acceleration of Fiona's Alzheimer's disease. Moments of lucidity and wry observation pepper Fiona's decline, and Christie gives an unforgettable performance as a woman who is both ordinary and singular to those whom she's touched. The story is set against a frigid Canadian winter, with fields of snow as a background underscoring the bleakness of Fiona's diagnosis; yet life is constant and surprising, in the call of a meadowlark or the resurrected memory of a skunk lily. A sc! ene of Fiona out for her daily cross-country ski shows Christi! e's gorg eous, sensual face in closeup against the snow, framed by a babushka, reminding the viewer of a similar scene of the decades-younger Christie in Dr. Zhivago. It's impossible not to be touched by the gifts of this extraordinary actress, through the life of this everywoman, whose very presence is shot through with grace. --A.T Hurleydvd

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
Food, 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/Fo! od Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlosser 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 wer! e the ch allenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ years.  It has taken a lot longer than we expected because we were denied 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 incredibly 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 thoug! h he’s not guilty of anything.  Then we realized there’s ! somethin g 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 does 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 ha! ve had t heir inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued 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 t! o 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 ha! s a similar background but earns about twice that amount.  A ! very lar ge proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speaking 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, desperate 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 ar! e 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 person 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 easi! er 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 they 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 program! s 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 is 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. examin! es the c osts of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, 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 takes 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

Ty Beanie Baby Brittany, Alvin and the Chipmunks

  • Official product from Ty?s wildly popular Beanie Babies Collection
  • Look for the familiar heart-shaped tag that means you?ve purchased an authentic Ty product
  • Handmade with the finest quality standards in the industry
  • Requires no additional gift tag; inside allows you to insert ?TO? and ?FROM? information
  • Collect them all
Chipmunk singing sensations Alvin, Simon and Theodore are back for an encore in this hilarious “squeakquel” packed with more action and more nutty fun for the whole family! When a concert mishap lands Dave in the hospital, the Chipmunks take a break from superstardom and enroll in school to fit in with kids their age. But they soon face some stiff competition when they meet the Chipettes â€" a beautiful, talented trio of chipmunks discovered by Ian, the boys’ evil ex-manager! Dave (Jason Lee) isn't exactly the typical father figure with a! n average family, but he cares deeply about his adoptive chipmunks Alvin (Justin Long), Theodore (Jesse McCartney), and Simon (Matthew Gray Gubler). While the performing life presents its own unique challenges, Dave always does his best to instill a sense of compassion and familial love into his young charges. When Alvin begins to get a little too caught up in his own stardom, Dave reminds him to share the spotlight with his fellow chipmunks, but Alvin gets carried away and ends up inadvertently injuring Dave on location in Paris. Aunt Jackie (Kathryn Joosten) steps in to look after the Chipmunks, but when her wheelchair rolls down a flight of stairs, only her irresponsible grandson Toby (Zachary Levi) is left to watch over the boys. An unemployed video gamer who lives with Jackie, Toby is completely unprepared for the responsibility of caring for the Chipmunks, but he agrees nonetheless. Starting school is not easy for the Chipmunks, and they are the target of bullying fro! m their very first day. But Alvin eventually works his way in ! with the popular crowd, leaving Theodore and Simon to fend for themselves with little support from Toby. The school principal (Wendie Malick) is one of the Chipmunks' biggest fans, and when the school's music department is about to be shut down due to lack of funds, she decides to enter them in a competition that will save the music program. Enter the Chipettes--female chipmunks Brittany (Christina Applegate), Eleanor (Amy Poehler), and Jeanette (Anna Faris), who are seeking their own chance for singing stardom--and the Chipmunks' dishonest ex-agent, Ian (David Cross), and the stage is set for some serious backstabbing competition. Craziness reigns as the two groups wage a musical war against one another, but in the end it all comes down to a question of what's more important--stardom or friendship. As in the first Alvin and the Chipmunks movie, the music is strangely appealing despite being performed mostly in falsetto, the characters are cute, the action is comical, and the! life lessons ring true. (Ages 6 and older with parental guidance due to some mild rude humor) --Tami HoriuchiBrittany is a cute little chipmunk that is part of the Chipettes. Alvin loves her and you will too! Collect all of the chipmunks! Ages 3+ 8" tall

Chloe New for Women. Eau De Parfum Spray 2.5-Ounces

  • Packaging for this product may vary from that shown in the image above
  • This item is not for sale in Catalina Island
Capturing the spirit of women, the Chloe vision is not about one singular woman, but rather about the rich and varied personalities of all Chloe women. This fresh, smooth floral fragrance evokes sublime powdery rose. The effect is chic, comfortable, and entirely addictive.Top notes of pink peony, freesia, and lychee embody subtle freshness. At the heart, midnotes of magnolia flower, lily of the valley, and rose rise to sublimated femininity. A base of velvety elegance comes to fruition through cedarwood, amber, and honey.Inspired by the details in Chloe's fashion, the flacon's heavy but softly curved and grooved glass reflects femininity and strength. The plated-silver top is embossed with the Chloe mark and adorned with a hand-tied ribbon.Notes:Pink Peony, Freesia, Lych! ee, Magnolia Flower, Lilly of the Valley, Rose, Cedarwood, Amber, Honey.

Lucky Brand Women's Long Sleeve Brenna Tee, American Navy, Large

  • Embroidered logo
  • Slit neck tee
Slub jersey tee with embroidered logo graphic

The Alphabet Killer

  • A ten year old girl is found brutally murdered outside the small blue-collar city of Rochester, New York, and obsessed police detective Megan Paige (Eliza Dushku of BUFFY THE VAMPIRE SLAYER and DOLLHOUSE) suffers a mental breakdown while trying to solve the crime. But when the child-killings resume two years later, Megan s return to the investigation also brings back her own horrific hallucination
Between 1971 and 1973, three young girls, ages ten to eleven, were found sexually assaulted and slain near Rochester, New York. The girls all had double initials for their first and last names and were found dead in suburbs with names in which the first letter co-ordinated with the girls' initials. Two prime suspects later committed suicide. A third suspect, Kenneth Bianchi, went to California where he went on to become one of the infamous Hillside Stranglers, but to this day he insists he had nothi! ng to do with the so-called Double Initial, or Alphabet, murders. The crimes remain unsolved, but interest in the case was re-energised with the release of a fictionalised motion picture loosely based on the murders. This factual account, the first book fully devoted to the case, explores the crime and the ongoing investigation.Between 1971 and 1973, three young girls, ages ten to eleven, were found sexually assaulted and slain near Rochester, New York. The girls all had double initials for their first and last names and were found dead in suburbs with names in which the first letter co-ordinated with the girls' initials. Two prime suspects later committed suicide. A third suspect, Kenneth Bianchi, went to California where he went on to become one of the infamous Hillside Stranglers, but to this day he insists he had nothing to do with the so-called Double Initial, or Alphabet, murders. The crimes remain unsolved, but interest in the case was re-energised with the release o! f a fictionalised motion picture loosely based on the murders.! This fa ctual account, the first book fully devoted to the case, explores the crime and the ongoing investigation.Between 1971 and 1973, three young girls, ages ten to eleven, were found sexually assaulted and slain near Rochester, New York. The girls all had double initials for their first and last names and were found dead in suburbs with names in which the first letter co-ordinated with the girls' initials. Two prime suspects later committed suicide. A third suspect, Kenneth Bianchi, went to California where he went on to become one of the infamous Hillside Stranglers, but to this day he insists he had nothing to do with the so-called Double Initial, or Alphabet, murders. The crimes remain unsolved, but interest in the case was re-energised with the release of a fictionalised motion picture loosely based on the murders. This factual account, the first book fully devoted to the case, explores the crime and the ongoing investigation.A ten year old girl is found brutally murdered ou! tside the small blue-collar city of Rochester, New York, and obsessed police detective Megan Paige (Eliza Dushku of BUFFY THE VAMPIRE SLAYER and DOLLHOUSE) suffers a mental breakdown while trying to solve the crime. But when the child-killings resume two years later, Megan’s return to the investigation also brings back her own horrific hallucinations.  Even if she can prove a ‘double initial’ connection to the slayings, will she hang onto her sanity long enough to catch a psychopath? Cary Elwes (SAW), Michael Ironside (STARSHIP TROOPERS), Bill Moseley (THE DEVIL’S REJECTS), Carl Lumbly (ALIAS) and Academy Award® winner Timothy Hutton co-star in this chilling thriller directed by Rob Schmidt.In the spirit of suspense films and television shows that focus on the sleuth’s attempt to make something out of senseless violence, Alphabet Killer is less about the murders it details than about the detective,! Megan Paige (Eliza Dushku of Buffy the Vampire Slayer), who suffers mentally for studying brutality. Though opening scenes show young girls slayed at various wooded Rochester, New York crime scenes, the film quickly digresses into Megan’s stressed relationship with her co-detective lover, Kenneth Shine (Cary Elwes), who watches her obsession with the case spiral out of control. As murders continue, Megan gets psychic leads and is haunted by the ghosts of the wrongly deceased, but cannot solve the case. Megan’s diagnosis as a schizophrenic complicates matters greatly, and elevates the film into deeper story, especially when one senses, through subtle filmic clues, the creepiness of Megan’s therapist, Richard Ledge (Timothy Hutton). Some silly, dramatized enactments of mental illness on Dushku’s part do not help convince the viewer through fine acting, though one may be willing to look past this in hopes for pending potential spookiness. And the conundrum posed by Megan in her therapy group is engaging: manic peop! le do often excel due to intuition, yet it is their ability to experience the world differently that gets them into trouble. Although the ghosts hallucinations are unconvincing, and Dushku probably could have used more research before she took the role, Alphabet Killer captivates because it shows how convoluted layers of reality can confuse even the sharpest detective. The disturbing thing about Alphabet Killer is not the film itself but the idea behind it: that the majority of what we know and trust is illusory, and that truth is discovered best through madness. --Trinie Dalton

Stills from The Alphabet Killer (Click for larger image)



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