ALPINESTARS Men's Big Blaze Classic Tee, White, XX-Large

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Sicko (Special Edition)

• Following on the heels of his Palm d'Or winning Fahrenheit 9/11 and his Oscar winning film Bowling for Columbine, acclaimed filmmaker Michael Moore's new documentary sets out to investigate the American healthcare system. Sticking to his tried-and-true one-man approach, Moore sheds light on the complicated medical affairs of individuals and local communities. Format: DVD MOVIE Genre:

Acclaimed filmmaker Michael Moore (Roger & Me) takes aim at America's love affair with guns and violence in this Oscar(r)-winning* film that "demands attention" (People)! Mixing riveting footage, hilarious animation and candid interviews with everyone from the NRA's Charlton Heston to shock-rocker Marilyn Manson, Bowling for Columbine is a "brilliant" (The Hollywood Reporter) tour de force of filmmaking. *2002: Documentary FeatureMichael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. --Bret FetzerStudio: Tcfhe/mgm Release Date: 08/04/2008The Michael Moore Limited Edition DVD Collector's Set collects two of his landmark do! cumentaries as well as a bonus disc of footage from the tour p! romoting his 2003 book Dude, Where's My Country? Bowling for Columbine (2002) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. The two-disc special edition included here is officially out of print and not available separately.! Its features include an updated voice-over introduction from Michael Moore on the first disc, as well as a direct-to-camera talk on the second disc in which he discussed reactions to the film, and his reaction to winning an Oscar (he had to recite his celebrated acceptance speech because the Academy refused permission for him to show a clip, and he offered his take on who was booing whom). Other extras are an enthusiastic commentary track by Moore's former receptionists and interns; good, thoughtful, funny, and provocative interviews with ex-Clinton Press Secretary Joe Lockhart and with film critic Charlie Rose; and a moving return to Littleton, Colorado--home of Columbine High School--to find out what local people thought of the documentary.

A brazen mixture of stand-up comedy, political commentary, CEO confrontations, and shenanigans with Random House tour escorts, The Big One (1997) follows Moore's book tour to promote Downsize This. In cities l! ike Des Moines, Minneapolis, St. Louis, and Portland, Moore's ! lighthea rted-sounding but deeply biting humor speaking before bookstore patrons is juxtaposed with painful-to-watch confrontations with security personnel at companies such as Procter & Gamble and PayDay. Moore speaks clandestinely with Borders employees organizing a union; a woman laid off from Ford attends Moore's Rockford, Illinois, bookstore visit the same day. Though slow in spots, frustrating if not depressing in others, it's intensely funny the rest of the time. The Big One is fundamental viewing.

On the bonus disc is a 13-minute featurette, "39 Cities in 23 Days." On the tour for his book Dude, Where's My Country?, Moore enthralls and amuses enthusiastic college crowds with points about the Bush-Saudi connections, voting machines, and "weapons of mass balloonery."Michael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the! issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. --Bret FetzerFollowing on the heels of his Palm d'Or winning Fahrenheit 9/11 and his Oscar winning film Bowling for Columbine, acclaimed filmmaker Michael Moore's new documentary sets out to investigate the American healthcare system. Sticking to his tried-and-true! one-man approach, Moore sheds light on the complicated medica! l affair s of individuals and local communities.SiCKO is more like a controlled howl of protest than a documentary. Toning down the rhetoric of past efforts--no CEOs, congressmen, or celebrities were accosted in the making of this film--Michael Moore's latest provocation is just as heartfelt, if not more heartbreaking. As he clarifies from the outset, his subject isn't the 45 million Americans without insurance, but those whose coverage has failed to meet their needs. He starts by speaking with patients who've been denied life-saving procedures, like chemotherapy, for the most spurious of reasons. Then he travels to Canada, England, and France to see if socialized medicine is as inefficient as U.S. politicians like to claim--especially those who receive funding from pharmaceutical companies. Moore finds quality care available to all, regardless as to income. He concludes with a stunt that made headlines when he assembles a group of 9/11 rescue workers suffering from a variety ! of afflictions. When Moore is informed that detainees at Guantánamo Bay--technically American soil--qualify for universal coverage, he and his companions travel to Cuba to get in on that action. It's a typically grandstanding move on Moore's part. And it proves remarkably effective when these altruistic individuals, who've either been denied treatment or forced to pay outrageous costs for their medication, experience a dramatically different system. Nine years in the making, SiCKO makes a persuasive case that it's time for America to catch up with the rest of the world. --Kathleen C. Fennessy

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EDtv : Widescreen Edition

• Widescreen

IT'S THE UNFORGETTABLE STORY OF A NOBODY, THAT EVERYBODY'S WATCHING. THE HILARIOUS STORY OF A TOTAL UNKNOWN TURNED CELEBRITY, WHO FALLS HEAD-OVER-HEELS FOR HIS BROTHER'S GIRLFRIEND SHARI ONLY TO DISCOVER THAT THEIR MOST INTIMATE PRIVATE MOMENTS HAVE JUST BECOME PUBLIC ENTERTAINMENT.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 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 shag! gy dog tale it's decent fun. --David KronkeThe third en! try of 1 998-99'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 fal! len 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 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 sho! w. Almost overnight, the program becomes a hit, and suddenly t! his goof y but engaging video clerk is a national celebrity! Everything's fabulous...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 makin! g a fully realized, two-and-a-half-hour-long movie that no one! would s it 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 Kronkedvd

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The Order - From Matthew Barney's Cremaster Cycle 3

• ORDER, THE - FROM MATTHEW BARNEY'S CREMA (DVD MOVIE)

Cremaster 3, the last in Matthew Barney's epic five-part film project, is part zombie, part gangster film. Set in 1930s New York and Saratoga Springs as well as Giant's Causeway in Northern Ireland, the plot explores the Irish mob system, freemasonry, and Celtic lore as further symbols for the forces at play in Barney's mythological system. Named after the muscle that raises or lowers a man's testicles in response to temperature, the Cremaster series has featured Barney as a satyr, a magician, a ram, Harry Houdini, and even famous murderer Gary Gilmore, props made from tapioca, petroleum jelly, ice, and self-healing plastic, and settings as fantastic and desolate as the Isle of Man, an empty football stadium in Idaho, and a nearly empty opera house in Hungary. The films are slow-moving and weirdly hynotic, full of elaborate sexual and biolo! gical allusions, references to sports and fashion, and a bizarre mix of autobiography, history, and private symbolism that have earned him comparisons to Wagner. This book is the final of the five companion volumes published to coincide with the release of each of the Cremaster films. Each was designed in an original manner by the artist and features photographs and stills from the film it accompanies.

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Gran Torino

• GRAN TORINO (DVD MOVIE)

A disgruntled Korean War vet, Walt Kowalski (Eastwood), sets out to reform his neighbor, a young Hmong teenager, who tried to steal Kowalski's prized possession: his 1972 Gran Torino.Clint Eastwood's Gran Torino, an unassuming picture shot during a post-production lull on his elaborate period piece Changeling, was quietly rolled out at Christmastime 2008, whereupon it proceeded to blow away all the Oscar-bait behemoths at the box office and win its 78-year-old star the best reviews of his acting career. Both film and performance are consummately sly--coming on with deceptive simplicity, only to evolve into something complex, powerful, and surprisingly tender. Just as Unforgiven was a tragic reflection on Eastwood's legacy in the Western genre, Gran Torino caps and eloquently critiques the urban heritage of Dirty Harry and his violent ! brethren. And on top of that, the movie becomes a savvy meditation on America in a particular historical moment, racially, economically, spiritually. Call it a "state of the union" message. But call it that with a wry grin.

The latest Dirty Harry is actually a grumpy Walt: Walt Kowalski (Eastwood playing his own age), widower, Korean War veteran, retired auto worker, and the last white resident of his Detroit side street. It's hard to say who irks him more--his blood kin (a pretty lame bunch) or the Hmong families who are his new neighbors. Kowalski's a racist, because it has never occurred to him he shouldn't be. Besides, that's the flipside of the mutual ethnic baiting that serves as coin of affection for him and his working-class buddies. Circumstances--and two young people next door, the feisty Sue (Ahney Her) and her conflicted brother Thao (Bee Vang)--contrive to involve Walt with a new community, and anoint him as its hero after he turns his big guns on some ruffi! ans. The trajectory of this may surprise you--several times ov! er. East wood opted to film in economically blighted Detroit--a shrewd decision, but it's his mapping of Walt's world in that classical style of his that really counts. Every incidental corner of lawn, porch, and basement comes to matter--and by all means the workshop/garage that houses the mint-condition Gran Torino which Walt helped build in a more prosperous era. This is a remarkable movie. --Richard T. Jameson

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Dear Wendy

• Directed by Thomas Vinterberg (The Celebration) and written by Lars von Trier (Dogville), Dear Wendy is an audacious and stylish exploration of guns and violence in America. When a young loner named Dick (Jamie Bell) discovers a vintage handgun, he finds himself strangely drawn to it in spite of his pacifist views. Soon he forms a secret club with other misfits in his town who collect and revere a

Directed by Thomas Vinterberg (The Celebration) and written by Lars von Trier (Dogville), Dear Wendy is an audacious and stylish exploration of guns and violence in America. When a young loner named Dick (Jamie Bell) discovers a vintage handgun, he finds himself strangely drawn to it in spite of his pacifist views. Soon he forms a secret club with other misfits in his town who collect and revere antique guns and refer to themselves as "The Dandies." But despite their firm belief in the most importan! t Dandy rule of all - "never draw your weapons" - they eventually discover that some rules are meant to be broken.

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Cold Creek Manor

• Finally putting an end to their days as slaves to the hustle-and-bustle of city life, Gothamites Cooper Tilson (Dennis Quaid) and his wife, Leah (Sharon Stone), pack up their kids and all their possessions and move into a recently repossessed mansion in the sticks of New York State. Once grand and elegant, the Cold Creek Manor is now a shambles, but Cooper and Leah have plenty of time to renovate.

COLD CREEK MANOR is a heart-pounding thriller that will keep you on the edge of your seat in tension-filled suspense. Wanting to escape city life for the saner, safer countryside, New Yorkers Cooper Tilson (Dennis Quaid), his wife Leah (1995 Golden Globe winner Sharon Stone, Best Actress, CASINO), and their two children move into a dilapidated old mansion still filled with the possessions of the previous family. Turning it into their dream house soon becomes a living nightmare when the previous owne! r (Stephen Dorff) shows up, and a series of terrifying incidents lead them on a spine-tingling search for clues to the estate's dark and lurid past.Turn off your brain and Cold Creek Manor just might turn into an entertaining thriller. Taking an uncharacteristic detour into nonsensical plot mechanics, director Mike Figgis expertly pushes buttons with this nerve-jangling but ultimately hackneyed story (by Richard Jeffries) about a documentary filmmaker (Dennis Quaid) who moves his wife (Sharon Stone) and two kids into a run-down rural mansion once owned by the family of a simmering ex-convict (Stephen Dorff), who's got secret reasons for wanting Quaid's family to leave. This rote potboiler wants to be as thrilling as Fatal Attraction, but it's more like Pacific Heights--fun to watch as the tension escalates with Dorff's violent behavior, but seriously flawed as plot holes proliferate. With a few good shocks and slinky support from Juliette Lewis, it's pe! rfectly enjoyable as a popcorn distraction, but maybe they sho! uld've c alled it Cold Creaky Manor instead. --Jeff Shannon

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Dorian Blues

• Witty, knowing and immensely entertaining, Dorian Blues is a delightfully off-kilter coming-of-age tale from debut writer-director Tennyson Bardwell. Adolescence is proving a pain for Dorian (Michael McMillian). He s an outcast and the butt ofmates jokes at high school, and his football hero brother (Lea Coco) is constantly rescuing him. But everything finally begins to make sense when he realizes

Witty, knowing and immensely entertaining, Dorian Blues is a delightfully off-kilter coming-of-age tale from debut writer-director Tennyson Bardwell. Adolescence is proving a pain for Dorian (Michael McMillian). Hes an outcast and the butt of classmates jokes at high school, and his football hero brother (Lea Coco) is constantly rescuing him. But everything finally begins to make sense when he realizes that hes gay. Before his archconservative dad (Steven C. Fletcher, in a hilarious role) can throw ! him out of the house, hes off to NYU where he encounters a new world of cafes, sophisticates and handsome men but this life proves just as frustrating as his world back home.Like That 70's Show and Napolean Dynamite, director Tennyson Bardwell's debut feature, Dorian Blues, stylishly contemplates the hellishness of high school in the '70s, but through a gay protagonist. Dorian Lagatos (played by Michael McMillan) is raised by Nixon-loving conservatives, and his manly brother is star of the football team, so it's difficult for him to admit, even to himself, that he is gay. Coming-out scenes construct a picture that is wrought by fear made into dry comedy. Dorian cries to himself in the middle of the night, gets beat up in the school halls, falls in love with his male therapist, talks to a dummy in order to practice breaking the news to his father, and tries to learn how to fight his brother when he finds out that Dorian is a "sissy." When Dorian leaves f! or New York, he meets his first boyfriend, and befriends a viv! acious l esbian named El. Scenes in S&M clubs, coffee bars, and New York lofts show Dorian slowly coming to terms with his true identity. The film's opening and closing shots take place at the cemetery during Dorian's father's funeral, accentuating not only the hatred Dorian feels for this stubborn man, but also the anger and fear Dorian harbors for himself. Ultimately, he must obliterate this order to find real happiness. Dorian Blues is a study in self-confidence, made funny by familiar scenes that teenagers struggling to fit in will know all too well.--Trinie Dalton

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All About My Mother

• Widescreen
• Exclusive Interview with director Pedro Almodovar
• Subtitles in English and French
• Director's production notes
• Talent files

A single mother in Madrid sees her only son die on his 17th birthday as he runs to seek an actress's autograph. She goes to Barcelona to find the lad's father, a transvestite named Lola who does not know he has a child. First she finds her friend, Agrado, also a transvestite; through him she meets Rosa, a young nun bound for El Salvador, and by happenstance becomes the personal assistant of Huma Rojo, the actress her son admired. She helps Huma manage Nina, the co-star and Huma's lover, and she becomes Rosa's caretaker during a dicey pregnancy. With echoes of Lorca, All About Eve, and A Streetcar Named Desire, the mothers (and fathers and actors) live out grief, love, and friendship.After her son is killed in an acc! ident, Manuela (Cecilia Roth) leaves Madrid for her old haunts in Barcelona. She reconnects with an old friend, a pre-op transsexual prostitute named La Agrado (Antonia San Juan), who introduces her to Rosa (Penélope Cruz), a young nun who turns out to be pregnant. Meanwhile, Manuela becomes a personal assistant for Huma Rojo (Marisa Paredes), an actress currently playing Blanche DuBois in a production of A Streetcar Named Desire. All About My Mother traces the delicate web of friendship and loss that binds these women together. The movie is dedicated to the actresses of the world, so it's not surprising that all the performances are superb. Roth in particular anchors All About My Mother with compassion and generosity. But fans of writer-director Pedro Almodóvar needn't fret--as always, Almodóvar's work undermines conventional notions of sexual identity and embraces all human possibilities with bright colors and melodramatic plotting. However, A! ll About My Mother approaches its twists and turns with a ! broader emotional scope than most of Almodóvar's work; even the more extravagant aspects of the story are presented quietly, to allow the sadness of life to be as present as the irrepressible vitality of the characters. Almodóvar embraces pettiness, jealousy, and grief as much as kindness, courage, and outrageousness, and the movie is the richer for it. --Bret FetzerAfter her son is killed in an accident, Manuela (Cecilia Roth) leaves Madrid for her old haunts in Barcelona. She reconnects with an old friend, a pre-op transsexual prostitute named La Agrado (Antonia San Juan), who introduces her to Rosa (Penélope Cruz), a young nun who turns out to be pregnant. Meanwhile, Manuela becomes a personal assistant for Huma Rojo (Marisa Paredes), an actress currently playing Blanche DuBois in a production of A Streetcar Named Desire. All About My Mother traces the delicate web of friendship and loss that binds these women together. The movie is dedicated to the actres! ses of the world, so it's not surprising that all the performances are superb. Roth in particular anchors All About My Mother with compassion and generosity. But fans of writer-director Pedro Almodóvar needn't fret--as always, Almodóvar's work undermines conventional notions of sexual identity and embraces all human possibilities with bright colors and melodramatic plotting. However, All About My Mother approaches its twists and turns with a broader emotional scope than most of Almodóvar's work; even the more extravagant aspects of the story are presented quietly, to allow the sadness of life to be as present as the irrepressible vitality of the characters. Almodóvar embraces pettiness, jealousy, and grief as much as kindness, courage, and outrageousness, and the movie is the richer for it. --Bret Fetzer

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