Kenneth Cole Women's Blurred Animal Printed Dress, Black/Pearl, 8

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Blurred animal printed dress

The Great Raid on Cabanatuan: Rescuing the Doomed Ghosts of Bataan and Corregidor

• ISBN13: 9780471037422
• Condition: New
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From the critically acclaimed author whom The Wall Street Journal called "a first-class historian," here is a riveting account of one of the most spectacular rescue operations in history. On January 30, 1945, American troops staged a successful raid on Cabanatuan, a notorious Japanese POW camp where thousands of prisoners had been tortured and died. Based on interviews with the heroes who survived the raid, this book brings to life in electrifying detail the dramatic events that took place on that historic day.

Praise for William B. Breuer and his books

"A first-class historian." --The Wall Street Journal

"Fast-paced, detailed, and satisfyingly dramatic." --World War II Magazine o! n Devil Boats

"Another smasher by Breuer, who specializes in thrilling reports of WWII spycraft and warfare." --Kirkus Reviews on Race to the Moon

"Vivid . . . skillfully written." --Los Angeles Times on Retaking the Philippines

"Brings to life how airborne soldiers survived, how the human will prevails . . . against overwhelming enemies, tactical failures, and even death."--The New York Times on Geronimo: American Paratroopers in World War II

Early on the morning of January 28, 1945, a small detachment of volunteers under the command of Lieutenant Colonel Henry A. Mucci, leader of the 6th Ranger Battalion, embarked from their base in the Philippines on the most audacious rescue operation ever undertaken. Their objective: Penetrate thirty miles behind enemy lines and liberate 511 POWs from Cabanatuan, the notorious Japanese POW camp where thousands of American prisoners had been brutally tortured and killed. Little did Mucci's Rangers know when t! hey got under way that morning that over the next few days and! nights they would be making history.

Written by acclaimed military historian William B. Breuer, The Great Raid on Cabanatuan is a riveting account of that rescue mission and the gallant soldiers who carried it out against overwhelming odds. Based largely on interviews with the heroes who survived the operation, and featuring twenty-eight previously unpublished photographs--many of them taken while the raid was in progress--it brings to life in electrifying detail the dramatic events that took place on the night of the raid, January 30, and during the harrowing days that followed.

In sketching out the many roads that led to Cabanatuan, Breuer brilliantly combines oral history with dramatic narrative to bring to life some of the most spectacular events of the war in the Pacific. We relive the hellish battles for Bataan and Corregidor, where in 1942 American and Filipino soldiers fought bravely to hold back the Japanese invasion force. We experience firsthand the horrors! of the Bataan Death March on which tens of thousands of prisoners lost their lives en route to Cabanatuan. And we learn of the American underground and guerilla operations in the Philippines during the Japanese occupation from the men and women behind them, including Margaret Utinsky, leader of "Miss U's underground," and Claire Phillips, the glamorous lounge singer turned spy- master.

A gripping chronicle of one of the most harrowing rescue missions ever undertaken as told in all its gritty detail by the heroes who made it happen, The Great Raid on Cabanatuan is both a first-class piece of military scholarship and a thrilling adventure story.

John Carpenter's Ghosts of Mars Poster Movie 11x17 Natasha Henstridge Ice Cube Clea DuVall Pam Grier

• Approx. Size: 11 x 17 Inches - 28cm x 44cm
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• The Amazon image in this listing is a digital scan of the poster that you will receive
• John Carpenter's Ghosts of Mars 11 x 17 Inches Style A Mini Poster
• Packaged with care and shipped in sturdy reinforced packing material

From John Carpenter, the master of horror behind 1998's hit John Carpenter's Vampires and classics like The Thing and Halloween, comes a sci-fi thriller full of explosive action and bone-chilling suspense. Natasha Henstridge (Species) is Melanie Ballard, a headstrong police lieutenant on Mars in the year 2025. Humans have been colonizing and mining on the red planet for some time, but when Ballard and her squad are sent to a remote region to apprehend the dangerous criminal James "Desolation" Williams, played by Ice ! Cube (Three Kings), they discover that he's the least of their worries. The mining operations have unleashed a deadly army of Martian spirits who take over the bodies of humans and won't stop until they destroy all invaders of their planet. With a stellar cast including Pam Grier (Jackie Brown), Jason Statham (Snatch) and Clea Duvall (The Faculty), as well as explosive special effects, John Carpenter's Ghosts of Mars is an intergalactic terror fest like you've never seen.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for ! better and worse. It's the year 2176, and human colonists on M! ars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Ca! ssidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonNASTHASHA HENSTRIDGE, PAM GRIER AND ICE CUBE MUST BATTLE IT OUT AGAINST PRIMITIVE MARTIAN GHOSTS WHO WILL STOP AT NOTHING TOANNIHILATE THE HUMAN INVADERS WHO HAVE DISTURBED THEIR PLANET.Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mar! s are controlled by a political "matronage," with women (for ! reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's! synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGhosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet! 's most notorious criminal, from a remote mining-colony priso! n. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGhosts of Mars may not be one of John Carpent! er's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of se! lf-mutilating freaks suggesting an unholy union of Marilyn Ma! nson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonGHOSTS OF MARS/VAMPIRES 2-PACK - DVD MovieGhosts of Mars
Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the! director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various connections from throughout the director's career--for better and worse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance bet! ween cops and criminals is a predictable excuse for rampant ba! ttle sce nes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the gruesome dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff Shannon

Vampires
Talk about an opening. The first few minutes of John Carpenter's Vampires--in which James Woods's vampire killer leads a dawn raid on a New Mexico "goon nest" of bloodsuckers--not only suggests a horror movie that will not pull any punches, it even evokes some of the more disturbing dream-memories of American Westerns. Muscular and uncompromised, the sequence suggests a new Carpenter classic unraveling before one's eyes. Well, dream on. Things don't quite ! work out that way, but this is still a film to reckon with. There are a few serious (and surprising) misjudgments on the director's part, particularly a mishandling of Sheryl Lee's role as a prostitute poisoned by the bite of a "master vampire" (who pretty much wiped out Woods's team of goon terminators). But aside from some weaknesses, the action is jolting, the suggested complicity of the Catholic Church in destroying monsters is provocative, and the traces of Howard Hawks's continuing influence on Carpenter's storytelling are in evidence. --Tom Keogh

Ghosts of Mars may not be one of John Carpenter's finer efforts, but you can't knock the veteran director for staying true to his roots--it's clearly a Carpenter film, reveling in its B-movie blood lust, and fueled by the director's rock & roll rebellion as well as the sex appeal of star Natasha Henstridge. This rickety sci-fi/horror hybrid recalls Carpenter's Assault on Precinct 13, with various! connections from throughout the director's career--for bette! r and wo rse. It's the year 2176, and human colonists on Mars are controlled by a political "matronage," with women (for reasons unexplained) holding court in the capitol city of Chryse. Mars Police Force Lt. Ballard (Henstridge) has been sent to retrieve James "Desolation" Williams (Ice Cube), the planet's most notorious criminal, from a remote mining-colony prison. With her ill-fated crew, Ballard discovers that the colonists have nearly all been possessed by ancient Martian spirits bent on reclaiming the planet, turning them into an army of self-mutilating freaks suggesting an unholy union of Marilyn Manson and the sadomasochistic Cenobites from the Hellraiser films. None of this makes much sense, and the shaky alliance between cops and criminals is a predictable excuse for rampant battle scenes between surviving humans and the ghost-possessed maniacs. Exotic weaponry abounds (along with cheap special effects and some laughable dialogue), resulting in the grue! some dispatch of expendable costars Pam Grier, Joanna Cassidy, Robert Carradine, and Clea Duvall. Driven by Carpenter's synth-metal score, this violent free-for-all has a few brief highlights, but it's suspenseless and ultimately absurd. It's not much, but for loyal fans it's probably enough. --Jeff ShannonJohn Carpenter's Ghosts of Mars reproduction Approx. Size: 11 x 17 Inches - 28cm x 44cm Style A mini poster print

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Filth and Wisdom

• FILTH AND WISDOM (DVD MOVIE)

Madonna s directorial debut!

Filth and Wisdom, is a hilariously sexy tale of three roommates who must delve into mischievous and naughty behavior in pursuit of bigger and brighter futures. A Ukrainian immigrant, A.K. (Eugene Hutz), finances his dreams of trans-continental superstardom with his band, Gogol Bordello, by turning tricks as a role-playing cross dresser. As A.K. literally whips the privileged of London into shape, he also secretly pines for the object of his affection, Holly (Holly Weston), as aspiring ballerina looking for her big break while moonlighting as a slippery stripper. Meanwhile, Juliette (Vicky McClure) steals medicine from her pharmaceutical job in hopes of quenching her dreams of helping Africa s youth. Filth and Wisdom is every bit as erotic and playful as it is poignant and touching, revealing the universal struggles we all face i! n our pursuits of happiness.

The Forgotten Garden: A Novel

• ISBN13: 9781416550556
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed

From the #1 internationally bestselling author of The House at Riverton, a novel that takes the reader on an unforgettable journey through generations and across continents as two women try to uncover their family’s secret past

A tiny girl is abandoned on a ship headed for Australia in 1913. She arrives completely alone with nothing but a small suitcase containing a few clothes and a single bookâ€"a beautiful volume of fairy tales. She is taken in by the dockmaster and his wife and raised as their own. On her twenty-fi rst birthday, they tell her the truth, and with her sense of self shattered and very little to go on, "Nell" s! ets out to trace her real identity. Her quest leads her to Blackhurst Manor on the Cornish coast and the secrets of the doomed Mountrachet family. But it is not until her granddaughter, Cassandra, takes up the search after Nell’s death that all the pieces of the puzzle are assembled. A spellbinding tale of mystery and self-discovery, The Forgotten Garden will take hold of your imagination and never let go.

Amazon Best of the Month, April 2009: Like Frances Hodgson Burnett's beloved classic The Secret Garden, Kate Morton's The Forgotten Garden takes root in your imagination and grows into something enchanting--from a little girl with no memories left alone on a ship to Australia, to a fog-soaked London river bend where orphans comfort themselves with stories of Jack the Ripper, to a Cornish sea heaving against wind-whipped cliffs, crowned by an airless manor house where an overgrown hedge maze ends in the walled garden of a ! cottage left to rot. This hidden bit of earth revives barr! en heart s, while the mysterious Authoress's fairy tales (every bit as magical and sinister as Grimm's) whisper truths and ignite the imaginary lives of children. As Morton draws you through a thicket of secrets that spans generations, her story could cross into fairy tale territory if her characters weren't clothed in such complex flesh, their judgment blurred by the heady stench of emotions (envy, lust, pride, love) that furtively flourished in the glasshouse of Edwardian society. While most ache for a spotless mind's eternal sunshine, the Authoress meets the past as "a cruel mistress with whom we must all learn to dance," and her stories gift children with this vital muscle memory. --Mari Malcolm

Read an excerpt and the reading group guide for The Forgotten Garden.

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Amazon Exclusive: A Conversation with Author Kate Morton

Q: The Forgotten Garden has some marvelous parallels with Frances Hodgson Burnett's The Secret Garden, and Burnett even makes an appearance in your book as a guest at a garden party. Did her book inspire portions of your story?

A: The Secret Garden was one of my favourite books when I was a little girl. Along with stories like The Faraway Tree and The Lion, the Witch, and the Wardrobe, it's one of many classic childhood tales in which children escape from the adult world to a place in which their imagination is allowed free rein. However, it wasn't my intention to reference The Secret Garden when I first started writing.

In fact, The Forgotten Garden (which was called The Authoress unt! il the final draft!) began with a family story: when she was 2! 1, my grandmother's father told her that she wasn't his biological child. Nana was so deeply affected by this knowledge that she told no one until she was a very old lady and finally confided in her three daughters. When I learned Nana's secret, I was struck by how fragile a person's sense of self is and knew that one day I would write a story about someone who experienced a similar life-changing confession.

When I began to write about Nell, I knew that her mystery was going to lead her to an English cottage, but the other details were hazy. It was while I was auditioning English locations for my book that I came across mention of the Lost Gardens of Heligan in Cornwall. My interest was piqued, and I began reading everything I could find about this place: a grand country estate with astounding gardens that had been locked and forgotten after its gardening staff were killed during the first world war and the owners moved away.

When it was! rediscovered in the late 20th century, nature had reclaimed the estate, but the bones of the garden lay deep beneath the overgrowth. This story really fired my imagination and I knew that I'd not only found my location--Cornwall--but that I would also need a forgotten garden in my story!

I was also eager to play with 19th-century gothic conventions in The Forgotten Garden. I adore books like Jane Eyre and Wuthering Heights, and I wanted a gloomy old house, wicked aunts, secretive servants, hidden identities, mysterious whisperings--the lot. But when my garden grew walls, I suddenly remembered The Secret Garden, and with my theme of fairy tales and storytellers and the vital role that such things play in a child's imagination, I couldn't resist introducing parallels (including a walk-on role for Frances Hodgson Burnett). It was a way of referencing my own childhood influences--Enid Blyton and the Famous Five get a! couple of nods throughout, too!--and was a lot of fun.
< a Q: Both The Forgotten Garden and The House at Riverton, your first novel, celebrate the imaginative lives of children, and the role that books and family legends play in inspiring their creative life. Which books fired your imagination as a child? Do you think fairy tales play a role in preparing children for life's harsher realities, and giving them courage? As children spend more time being entertained--by TV and video games--and less time inventing their own entertainments and exploring the natural world, what are we losing?

A: I read voraciously as a child, and the more I write the more I realize that an essential part of my character (and certainly my inner writer) was formed in those early years. Enid Blyton was my first and my favourite (The Faraway Tree, The Enchanted Wood, The Secret Seven), sparking in me a lifetime love of English countryside, dark, creepy woods, an! d hidden mysteries. I also loved Anne of Green Gables, The Railway Children, Roald Dahl, and fairy tales of all description, and had a mighty impressive collection of second-hand Trixie Belden books (collected when my mum, an antique dealer, dragged us to second-hand shops with her).

I agree that fairy tales teach children about life's harsher realities. They are our society's fables and, in their true form, often contain messages that aren't easy to hear. There's something compelling about their simple (sometimes brutal) honesty though, and their heightened style creates a narrative distance that sets them apart from more realistic children's fiction so that the events depicted are understood to be taking place in a world that is not our own. I think we sometimes underestimate the ability of children to recognize and process intelligent concepts, and sort the literal from the fairy tale.

Q:! Both of your first two novels leap between the present and pa! st, with much of the story happening in the late Victorian and Edwardian eras, in the lead-up to World War I. What fascinates you about that particular period?

A: The early decades of the 20th century fascinate me because they describe a moment of immense social, political, and cultural transition, and because change ignites conflict (on a large scale, as in the culminating war, but also on a much smaller inter-personal level), which makes it excellent fodder for a writer interested in stories about people. Sociocultural expectations of women and the lower classes were changed indelibly as a consequence of the first world war, so a person who was 18 in 1912 had a markedly different perception of their place in the world as compared to a person who was 18 in 1922.

I'm particularly interested in the way the past is tethered to the present: that is, I like to write about the past insofar as it is a place to which we are still connect! ed in some way. I have a rather gothic insistence on the refusal of the past to remain dead and buried!

The literary gothic (particularly that of the 19th-century novel) is a genre for which I bear a special fondness. I wrote my masters on Tragedy in Victorian Novels and my PhD topic concerns the use of gothic tropes in contemporary fiction. My interest isn't so much in the supernatural aspects of the gothic (apparitions and the like) as much as metaphorical ghosts--the haunting of the present by the past; guilt; memory; identity issues; twins and doubles; the complicated ties of family; anxieties over technology, etc. I think the gothic resonates strongly in our technological time, not least in matters of identity. Computers and the surfacing of social networking sites have changed the way we represent ourselves and interact with other people; medical advances mean we are able to alter our appearances in ways we never could before; we are eve! n beginning to manipulate genes and use science to aid and aff! ect conception. This is all fertile ground for a fiction writer!

Q: Your next novel, The Distant Hours, will be set in World War II England. Can you reveal any other details?

A: Not a lot, I'm afraid--I'm superstitious about speaking too much about my people when their stories are still unfolding!--but here's a little tiny taste: The Distant Hours is set in 1940, during the period in which the English were worried that the Germans might land on the beaches any day. It takes place in a castle in Kent (with a medieval tower and a huge ancient wood!), where the unexpected arrival of a stranger causes ripples in the household that trigger a tragedy....

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Dial M for Murder

• When American writer Mark Halliday visits the very married Margot Wendice in London, he unknowingly sets off a chain of blackmail and murder. After sensing Margot's affections for Halliday, her husband, Tony Wendice, fears divorce and disinheritance, and plots her death. Knowing former school chum Captain Lesgate is involved in illegal activities, Tony blackmails him into conspiring to kill Margot

DIAL M FOR MURDER - DVD MovieA suave tennis player (Ray Milland) plots the perfect murder, the dispatching of his wealthy wife (Grace Kelly), who is having an affair with a writer (Robert Cummings). Amazingly, the wife manages to stave off her attacker, a twist of fate that challenges the hubby's talent for improvisation. Alfred Hitchcock wisely stuck to the stage origins of Dial M for Murder, ignoring the temptation to "open up" the material from the home of the unhappy couple. The result ma! y not be one of Hitchcock's deepest films, but it's a thoroughly engaging chamber movie. It also features Grace Kelly at her loveliest, the same year she made Rear Window with Hitchcock. Dial M for Murder was filmed in the briefly trendy 3-D process, and Hitchcock shot some scenes to bring out the depth of the 3-D field; it's especially good for the nail-biting attempted murder of Kelly, and her desperate reach for a pair of scissors that seems to be just outside her grasp. However, the film was rarely shown with the proper 3-D projection, going out "flat" instead (a 1980 reissue restored the process for a limited theatrical release). Dial M was remade in 1998 as A Perfect Murder, a film that changed and expanded the material, with no improvement on the clean, witty original. --Robert Horton

House of Sand and Fog

• ISBN13: 9780393338119
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

The National Book Award finalist, Oprah Book Club pick, #1 New York Times bestseller and basis for the Oscar-nominated motion picture.

A former colonel in the Iranian Air Force yearns to restore his family's dignity. A recovering alcoholic and addict down on her luck struggles to hold on to the one thing she has left. And her lover, a married cop, is driven to extremes to win her love.

In this masterpiece of American realism and Shakespearean consequence, Andre Dubus III's unforgettable charactersâ€"people with ordinary flaws, looking for a small piece of ground to stand onâ€"careen toward inevitable conflict, their tragedy painting a shockingly true pi! cture of the country we live in today.Oprah Book Club® Selection, November 2000: Andre Dubus III wastes no time in capturing the dark side of the immigrant experience in America at the end of the 20th century. House of Sand and Fog opens with a highway crew composed of several nationalities picking up litter on a hot California summer day. Massoud Amir Behrani, a former colonel in the Iranian military under the Shah, reflects on his job-search efforts since arriving in the U.S. four years before: "I have spent hundreds of dollars copying my credentials; I have worn my French suits and my Italian shoes to hand-deliver my qualifications; I have waited and then called back after the correct waiting time; but there is nothing." The father of two, Behrani has spent most of the money he brought with him from Iran on an apartment and furnishings that are too expensive, desperately trying to keep up appearances in order to enhance his daughter's chance! s of making a good marriage. Now the daughter is married, and ! on impu lse he sinks his remaining funds into a house he buys at auction, thus unwittingly putting himself and his family on a trajectory to disaster. The house, it seems, once belonged to Kathy Nicolo, a self-destructive alcoholic who wants it back. What starts out as a legal tussle soon escalates into a personal confrontation--with dire results.

Dubus tells his tragic tale from the viewpoints of the two main adversaries, Behrani and Kathy. To both of them, the house represents something more than just a place to live. For the colonel, it is a foot in the door of the American dream; for Kathy, a reminder of a kinder, gentler past. In prose that is simple yet evocative, House of Sand and Fog builds to its inevitable denouement, one that is painfully dark but unfailingly honest. --Alix Wilber

Trilogy of Terror (Special Edition)

• Legendary producer/director Dan Curtis (DARK SHADOWS, THE NIGHT STALKER) teams up with writers Richard Matheson (I AM LEGEND, THE TWILIGHT ZONE) and William F. Nolan (LOGAN S RUN, BURNT OFFERINGS) to present three tales of horrific suspense in this made-for-television anthology that also showcases the tremendous acting talent of Karen Black (FIVE EASY PIECES, THE DAY OF THE LOCUST), who plays four

Sally, a young girl, moves to Rhode Island to live with her father and his new girlfriend in the 19th-century mansion they are restoring. While exploring the house, Sally starts to hear voices coming from creatures in the basement whose hidden agenda is to claim her as one of their own.Fondly remembered for scaring the Tab out of impressionable viewers, 1973's television movie Don't Be Afraid of the Dark stands today as a minor classic of irrational dream-logic horror, with an ending that goe! s straight for the worst-case scenario. Despite (or perhaps because of) its wonky effects, minimalist character development, and snicker-worthy Freudisms, it knows how to linger into the wee small hours. Cowriter-producer Guillermo del Toro's mash note of a remake is a superior movie in virtually all aspects, really, yet it somehow fails to ping the same whimpering neurons. Director Troy Nixey's film follows the same basic blueprint as the source material--a fractured family (Guy Pearce, Katie Holmes, and Bailee Madison) moves into a dark old house, only to be tormented by a gaggle of tiny chatterbox demons--but with a much greater emphasis on the mythology and back story of the creatures. Del Toro has long proclaimed his love for the original movie, and it's rather fascinating to see the filmmaker attempt to shoehorn his own trademark obsessions (grim fairy-tale origins, spooky little girls, odd Lovecraftian angles, etc.) into the existing material. Still, such Gothic curl! icues, however nifty, ultimately end up diluting the solid-sta! te night mare fuel of the premise. Aside from a few solid shocks and a strong performance by Holmes, this heartfelt redo is unlikely to have the same lasting effect on audiences as the much cruder original. Instead of focusing on the hows and whys, that one just wanted to freak the viewer out. --Andrew WrightSally, a young girl, moves to Rhode Island to live with her father and his new girlfriend in the 19th-century mansion they are restoring. While exploring the house, Sally starts to hear voices coming from creatures in the basement whose hidden agenda is to claim her as one of their own.Fondly remembered for scaring the Tab out of impressionable viewers, 1973's television movie Don't Be Afraid of the Dark stands today as a minor classic of irrational dream-logic horror, with an ending that goes straight for the worst-case scenario. Despite (or perhaps because of) its wonky effects, minimalist character development, and snicker-worthy Freudisms, it knows how to linger! into the wee small hours. Cowriter-producer Guillermo del Toro's mash note of a remake is a superior movie in virtually all aspects, really, yet it somehow fails to ping the same whimpering neurons. Director Troy Nixey's film follows the same basic blueprint as the source material--a fractured family (Guy Pearce, Katie Holmes, and Bailee Madison) moves into a dark old house, only to be tormented by a gaggle of tiny chatterbox demons--but with a much greater emphasis on the mythology and back story of the creatures. Del Toro has long proclaimed his love for the original movie, and it's rather fascinating to see the filmmaker attempt to shoehorn his own trademark obsessions (grim fairy-tale origins, spooky little girls, odd Lovecraftian angles, etc.) into the existing material. Still, such Gothic curlicues, however nifty, ultimately end up diluting the solid-state nightmare fuel of the premise. Aside from a few solid shocks and a strong performance by Holmes, this heartfelt ! redo is unlikely to have the same lasting effect on audiences ! as the m uch cruder original. Instead of focusing on the hows and whys, that one just wanted to freak the viewer out. --Andrew WrightIt's back! The classic TV MOW that continues to cast a spell almost 40 years after it was first broadcast; in a new remastered and enhanced edition. Sally (Kim Darby) and Alex Farnham's (Jim Hutton) marriage has a sinister wedge driven through it; when her occult "imaginings" threaten to derail his career after they inherit Sally's grandmother's house. Also starring William Demarest. Enhanced Content: Superfan commentary track from horror fans and pros Jeffrey Reddick, Steve Barton ("Uncle Creepy") and Sean Abley.

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An old house...a mysterious locked room... a terrifying secret. Elements that make a horror movie memorably chilling get a taut, spooky reworking in Don't Be Afraid of the Dark. Kim Darby (True Grit) and! Jim Hutton (The Green Berets) star as Sally and Alex, young marrieds who inherit a crumbling mansion. Despite warnings to leave well enough alone in her new home, Sally unlocks the mysterious room, opens a bricked-up fireplace - and unleashes a horde of hideous, whispering, murdering mini-demons only she can see and hear. Alex thinks she's imagining things. We know she isn't. And we know Sally should be very, very afraid of the dark!

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

Legendary producer / director Dan Curtis (DARK SHADOWS, THE NIGHT STALKER) teams up with writers Richard Matheson (I AM LEGEND, THE TWILIGHT ZONE) and William F. Nolan (LOGAN’S RUN, BURNT OFFERINGS) to present three tales of horrific suspense in this made-for-television anthology that also showcases the tremendous acting talent of Karen Black (FIVE EASY PIECES, THE DAY OF THE LOCUST), who plays no less than four! distinct roles. In "Julie," an aggressive college student se! duces an d ultimately blackmails his seemingly shy English professor. In "Millicent and Therese," two polar-opposite sisters become increasingly hell-bent on the undoing of one another. And in "Amelia," a woman falls prey to a murderous Zuni fetish doll.

Dan Curtis, the creator and producer of such out-of-the-ordinary TV classics as the willfully offbeat gothic soap opera Dark Shadows and the proto-X-Files series The Night Stalker, remains best known for the Zuni fetish doll that terrorizes Karen Black in Trilogy of Terror. The wild-eyed doll, with its snapping jaws and screeching yells, borders on camp, yet its relentless attacks and single-minded, homicidal drive make it an absolutely terrifying figure in the climactic chapter of this trilogy of short films based on stories by Richard Matheson. In the first story, "Julie," Karen Black plays a mousy college professor blackmailed by an obsessed student, and in "Millicent and Therese" she plays sisters c! onsumed with an intense hatred of one another that comes to a head when their father dies. Both of these films conclude with Twilight Zone-ish twists and are more clever than gripping, kept alive mostly by Black's gleefully theatrical performances. With "Amelia," however, Black delivers an almost solo show, playing against the famous Zuni fetish doll, a wooden statue that comes to life when the a protective chain slips off the figure and releases the evil spirit. Curtis turns her apartment into a claustrophobic cage trapping the increasingly hysterical woman as the unstoppable figure hacks at her legs with a kitchen knife and chomps down on her arms and neck with the relentless intensity of a bulldog. It's still a classic of small-screen horror. --Sean Axmaker