Human Trafficking

• HUMAN TRAFFICKING (DVD MOVIE)

Here's the hip, adrenaline-pumped comedy about one wild weekend in the lives of five young friends ... and how their latest raved-up adventure just might change their outlook before the next weekend arrives! For Jip, Lulu, Koop, Nina, and Moff, workdays are merely the dreary downtime between frenetic 48-hour binges of clubbing, pubbing, and partying without rules or limits! But when these friends spend a wild weekend in search of some meaning and real connections, they'll see things in ways they've never imagined! Fast, funny, and excitingly original -- discover for yourself this widely acclaimed hit!Human Traffic wants to be a Trainspotting for the rave set, and so it has thick British accents, hip snotty attitudes, slick visuals, a propulsive electronic soundtrack, and unfortunately some very weak writing and drab characters. A band of friends, w! ith the cute names of Jip, Koop, Nina, Lulu, and Moff, are sex-obsessed clubgoers having some sort of premature midlife crisis. Jip and Lulu are best friends, only their friendship is about to be threatened by sexual tension. Koop gets ravingly jealous about his girlfriend, Nina. Moff masturbates a lot and has a repressive dad. Jip's mother is a prostitute. Koop's father is a paranoid schizophrenic. What little plot there is revolves around whether or not they'll get into a particularly hip club. Critics usually complain that movies are too much like music videos, but Human Traffic could stand to be more of one. All the best moments are when the tepid dialogue stops and the driving beats and quickly edited images take over. A brief break dancing sequence is a moment of genuine dazzle. The actors aren't completely without charm, but the movie is just trying too hard to achieve the effervescent buzz it seeks. --Bret FetzerStudio: Lions Gate Home Ent. Release D! ate: 05/17/2011 Run time: 84 minutes Rating: RHuman Traff! ic w ants to be a Trainspotting for the rave set, and so it has thick British accents, hip snotty attitudes, slick visuals, a propulsive electronic soundtrack, and unfortunately some very weak writing and drab characters. A band of friends, with the cute names of Jip, Koop, Nina, Lulu, and Moff, are sex-obsessed clubgoers having some sort of premature midlife crisis. Jip and Lulu are best friends, only their friendship is about to be threatened by sexual tension. Koop gets ravingly jealous about his girlfriend, Nina. Moff masturbates a lot and has a repressive dad. Jip's mother is a prostitute. Koop's father is a paranoid schizophrenic. What little plot there is revolves around whether or not they'll get into a particularly hip club. Critics usually complain that movies are too much like music videos, but Human Traffic could stand to be more of one. All the best moments are when the tepid dialogue stops and the driving beats and quickly edited images take over. A ! brief break dancing sequence is a moment of genuine dazzle. The actors aren't completely without charm, but the movie is just trying too hard to achieve the effervescent buzz it seeks. --Bret FetzerNominated for Two Golden Globes® - Best Actress and Best Actor in a TV Miniseries; Lifetime Television's most-watched miniseries of 2005. Featuring Emmy® and Golden Globe® Award winner Donald Sutherland (The Italian Job), Academy Award® and Golden Globe® Award winner Mira Sorvino (Mighty Aphrodite) and Trainspotting's Robert Carlyle, Human Trafficking is at once a gripping thriller, a cautionary tale, and one of the most fundamentally important stories of our time. DVD Features include: Interviews with Mira Sorvino and Robert Carlyle, Behind the Scenes with the cast and crew, and A "Take Action" Guide to shop human trafficking now! The Lifetime cable channel made TV history with this ambitious, acclaimed original miniseries on the horrifying phenomenon of human traffi! cking, or sexual slavery. It follows the fictional cases of yo! ung wome n around the world, lured or abducted, sometimes right off the street, into a world of unspeakable brutality--which the filmmakers show in almost overwhelming detail at times. Mira Sorvino and Donald Sutherland star as American government officials bent on exposing and stopping the phenomenon, and both are more than serviceable in their roles. But the revelation is Robert Carlyle, the Scottish star of The Full Monty and Trainspotting, who here is transformed into a ruthless criminal mastermind behind his own trafficking network. Even his Eastern European accent is spot-on and blood-chilling. The supporting cast of women and girls is strong, and in some cases, truly heartbreaking. And while sometimes almost unbearably harsh, the film serves as a reminder this terrible situation still exists and thrives; and told through the characters, is also a well-paced thriller. --A.T. Hurley

Classic Drivers Ed Safety Training Films on DVD: Safe Driving School Lessons

• (1) Driving Tips (1958) (2) Chance To Lose (1930s)
• (3) Live And Let Live (1947) (4) Formations (1936)
• (5) On The Run (1956) (6) The Other Fellow (1937)
• (7) Safe Roads (1935) (8) Seeing Green (1937)
• (9) Tomorrow's Drivers (1954) (10) We Drivers (1935) (11) When You're A Pedestrian (1948)

Oscar® nominee Laura Linney (Kinsey) stars as Laura Marshall, an overzealous, evangelical Christian do-gooder who fills her home with down-and-out boarders, including a senile, cross-dressing murderous mute. Desperate to expand his horizons, Laura’s shy teenage son Ben (Rupert Grint, of Harry Potter fame) lands a job tending to self-proclaimed "Dame" Evie Walton (Oscar® nominee Julie Walters, Billy Elliot), an over-the-hill actress with the mouth of a drunken sailer and an insatiable lust for life. The battle for Ben’s soul begins as Evie shanghais Ben away! from his repressive roots and takes him on an adventure that transforms him from boy to man. A winning entry at the 2006 Moscow International Film Festival, Driving Lessons is an experience Stephen Farber of Movieline calls "a delightful coming-of-age story."More down-to-earth than Auntie Mame, Driving Lessons imparts the same simple, but enduring messageâ€"be yourself. In the directorial debut from screenwriter Jeremy Brock (Mrs. Brown), 17-year-old Ben (Harry Potter's Rupert Grint, sluggish yet sympathetic) lives with his vicar father, Robert (Nicholas Farrell), and pious mother, Laura (Laura Linney doing a passable, but inconsistent British accent), in a tree-shaded London suburb. Soft-spoken Ben writes poems and looks forward to passing his driver's test. When his mother encourages him to get a job, he becomes an assistant to retired actress Evie Walton (Billy Elliot's Julie Walters, hunched up to look elderly). He finds her overbeari! ng at first. Still, Evie is preferable to Laura, who may do vo! lunteer work with her husband's parishioners, including bizarre boarder Mr. Fincham (Jim Norton), but also cheats on him with Reverend Peter (Oliver Milburn) and engages her resentful son in the subterfuge. Then Evie tricks Ben into driving her to Edinburgh for a poetry reading, where he learns to assert himself and she learns to put the dramatics on holdâ€"at least for a few minutes. Ben also loses his virginity to a woman he just met, sending a secondary message some parents might not appreciate (the film's sprinklings of profanity earned it a PG-13). Driving Lessons itself seems stranded between coming-of-age story and character study. Ironically, Farrell gives the most convincing performance as Ben's bird-loving father. Engaging if uneven, this parable about hypocrisy and self-expression might have been more interesting if presented from his perspective. --Kathleen C. Fennessy

Stills from Driving! Lessons (click for larger image)

Beyond Driving Lessons at Amazon.com

More Films about Co! ming of Age

The Films of Julie Walters

Learn to Drive

They share the same birth month, so the orphanage calls them December Boys. But these teens â€" Maps, Spit, Spark and Misty â€" have much more in common. With no hopes of ever joining a family, they form their own familial bonds. Then the unexpected news comes that a young couple may adopt one of them, and the long-time pals suddenly share something else: a rivalry to be the chosen one.Take dead aim at action-packed laughs with this killer comedy featuring an all-star cast. Emily Blunt steals the show as Rose, a free-spirited thief who finds herself in the cross hairs of a world-class assassin named Victor (Bill Nighy). But when Victor spares Rose’s life, the lonely hearted hitman sets off an! outrageous chain of events that turn both their worlds upside down. Joined by a gun-toting apprentice (Rupert Grint), the unlikely trio teams up to thwart the murderous intentions of Victor’s unhappy client.

When Steve Friedman was a child growing up in the suburbs of St. Louis, the game of golf was, to him, mysterious and dark. His father’s passion for it caused friction in his marriage and eluded the interest of his youngest son, who was devoted instead to basketball. For that and many other reasons, the two failed to bond, ultimately leading to an awkward and unhappy relationship.

 

But Friedman never forgot the love his father had for golf, and after many years, when he was in his
forties, he reached out and asked his dad to teach him the game. He thought that perhaps he could
learn something about his old man’s view of life and thereby find a way to communicate with him.

This small volume is the sweet y! et unsentimental story of that experienceâ€"the tale of two me! n using< BR>the game of golf to find a way to connect with each other across decades of disagreement and misunderstanding. For anyone who is a golfer, a father, or a son, this book will be a treasure.

Have you ever seen video clips from classic driver education films? These were the somewhat corny, old time movies shown in driver ed and driving school to teach former American generations about defensive driving training, driver safety and all the important rules of the road. They may have even been showing these vintage videos when you went through driving school or driver ed. Now is your chance to see all these classic movies on DVD! We have assembled the premiere collection of driver safety training and defensive driving films, digitized and placed on DVD format with full menus for your viewing pleasure. These eleven movies spanning from 1930 to 1958 are the cream of the crop driver education videos available. Driver education is something we can all relate to (assuming you drive a car) because everyone is required to go through driver safety training, whether through a high school program or an independent agency. While the rules of defensive driving and driver safety have not fundamentally changed over the last 50 years, the manner in which these rules are presented has changed drastically. These films were best designed to appeal to the young drivers of the 1930s, 40s and 50s, so the approach seems hilariously outdated. This quality gives these movies an entertaining timelessness and value that makes them a must-see for future generations. (1) Driving Tips (1958) (2) Chance To Lose (1930s) (3) Live And Let Live (1947)(4) Formations (1936) (5) On The Run (1956) (6) The Other Fellow (1937) (7) Safe Roads (1935) (8) Seeing Green (1937) (9) Tomorrow's Drivers (1954) (10) We Drivers (1935) (11) When You're A Pedestrian (1948)

Roots of Rhythm

• Long before World Music became a record store staple, Americans were singing along to the sweet sounds of Celia Cruz and dancing to the rhythmic beats of Tito Puente.Harry Belafonte hosts this globe-trotting, star-studded celebration tracing the history of the popular sounds we call Latin music, from tribal celebrations in African jungles to Cuba's wild carnivals and New York City's hottes

A behind the scenes glimpse into the lives of Grammy Award winner Tito Puente and some of the greatest Latin musicians of our times! Experience the passion of Latin Jazz. It is a musical journey that captures the heart and soul of an entire culture. It is an innovative tapestry of sound and imagery, styles and rhythms-from samba to pambiche to flamenco. In Calle 54, Madrid-based filmmaker Fernando Trueba explores the wide and wonderful world of Latin jazz: a hybrid genre that fuses the clave, samba,! flamenco, merengue, and other rhythms from Africa, the Iberian peninsula, and the Americas. The film's Spanish title takes its name from Sony Music Studios located on 54th Street in Manhattan, where a who's who of musicians were filmed and recorded. They range from Brazilian bombshell keyboardist Eliane Elias and enigmatic Argentine tenor saxophonist Gato Barbieri, to the fiery rumba group Puntilla y Nueva Generacion. The music and musicians of Cuba and Puerto Rico dominate this documentary, and the most touching scene is the emotional father-and-son reunion of Cuban pianists Bebo and Chucho Valdés, who were separated by Fidel Castro's revolution. Sadly, the film features the last onscreen appearances by the late composer-arranger Chico O'Farrill and the legendary timbales master Tito Puente. Simply put, Calle 54 is a documentary that dances. --Eugene Holley Jr."The Buena Vista Social Club" guitarist Ry Cooder s celebrated album featuring the rec! ently re-discovered talents of Cuba s foremost folk musicians ! sold mil lions of copies and earned a Grammy Award. Now Cooder teams up with acclaimed director Wim Wenders (Paris Texas) to reveal the astonishing life stories vibrant personalities and unforgettable music of the brilliantly talented but long-overlooked performers who collaborated on this now-legendary recording. Form the crumbling barrios of their native Havana to their triumphant sold-out concerts in Amsterdam and New York s Carnegie Hall it s an unforgettable deeply emotional journey into the passion pride and humanity of the artists whose music sparked a worldwide musical phenomenon!System Requirements:Starring: Ry Cooder Ibrahim Ferrer Rueben Gonzalez Eliades Ochoa Omara Portuondo and Compay Segundo. Directed By: Wim Wenders. Running Time: 105 mins color. This film is presented in "Standard" format. Copyright: 1999 Artisan Live Entertainment.Format: DVD MOVIE Genre: DRAMA Rating:  UPC: 012236101765 Manufacturer No: 10176In 1996, composer, producer, and guitar legend R! y Cooder entered Egrem Studios in Havana with the forgotten greats of Cuban music, many of them in their 60s and 70s, some of them long since retired. The resulting album, Buena Vista Social Club, became a Grammy-winning international bestseller. When Cooder returned to Havana in 1998 to record a solo album by 72-year-old vocalist Ibrahim Ferrer, filmmaker Wim Wenders was on hand to document the occasion. Wenders splits the film between portraits of the performers, who tell their stories directly to the camera as they wander the streets and neighborhoods of Havana, and a celebration of the music heard in performance scenes in the studio, in their first concert in Amsterdam, and in their second and final concert at Carnegie Hall. The songs are too often cut short in this fashion, but Buena Vista Social Club is not a concert film. Wenders weaves the artist biographies with a glimpse of modern Cuba remembering its past, capturing a lost culture in music that is s! uddenly, unexpectedly revived for audiences in Havana and arou! nd the w orld. Wenders makes his presence practically invisible, as if his directorial flourishes or off-screen narration might deflect attention from the artists, who do a fine job of telling their own stories through interviews and music. It's a loving portrait of a master class in Cuban music, with a vital cast of aging performers whose energy and passion belie their years. --Sean AxmakerIn Calle 54, Madrid-based filmmaker Fernando Trueba explores the wide and wonderful world of Latin jazz: a hybrid genre that fuses the clave, samba, flamenco, merengue, and other rhythms from Africa, the Iberian peninsula, and the Americas. The film's Spanish title takes its name from Sony Music Studios located on 54th Street in Manhattan, where a who's who of musicians were filmed and recorded. They range from Brazilian bombshell keyboardist Eliane Elias and enigmatic Argentine tenor saxophonist Gato Barbieri, to the fiery rumba group Puntilla y Nueva Generacion. The music and ! musicians of Cuba and Puerto Rico dominate this documentary, and the most touching scene is the emotional father-and-son reunion of Cuban pianists Bebo and Chucho Valdés, who were separated by Fidel Castro's revolution. Sadly, the film features the last onscreen appearances by the late composer-arranger Chico O'Farrill and the legendary timbales master Tito Puente. Simply put, Calle 54 is a documentary that dances. --Eugene Holley Jr.In Calle 54, Madrid-based filmmaker Fernando Trueba explores the wide and wonderful world of Latin jazz: a hybrid genre that fuses the clave, samba, flamenco, merengue, and other rhythms from Africa, the Iberian peninsula, and the Americas. The film's Spanish title takes its name from Sony Music Studios located on 54th Street in Manhattan, where a who's who of musicians were filmed and recorded. They range from Brazilian bombshell keyboardist Eliane Elias and enigmatic Argentine tenor saxophonist Gato Barbieri! , to the fiery rumba group Puntilla y Nueva Generacion. The mu! sic and musicians of Cuba and Puerto Rico dominate this documentary, and the most touching scene is the emotional father-and-son reunion of Cuban pianists Bebo and Chucho Valdés, who were separated by Fidel Castro's revolution. Sadly, the film features the last onscreen appearances by the late composer-arranger Chico O'Farrill and the legendary timbales master Tito Puente. Simply put, Calle 54 is a documentary that dances. --Eugene Holley Jr.In Calle 54, Madrid-based filmmaker Fernando Trueba explores the wide and wonderful world of Latin jazz: a hybrid genre that fuses the clave, samba, flamenco, merengue, and other rhythms from Africa, the Iberian peninsula, and the Americas. The film's Spanish title takes its name from Sony Music Studios located on 54th Street in Manhattan, where a who's who of musicians were filmed and recorded. They range from Brazilian bombshell keyboardist Eliane Elias and enigmatic Argentine tenor saxophonist Gato Barbieri,! to the fiery rumba group Puntilla y Nueva Generacion. The music and musicians of Cuba and Puerto Rico dominate this documentary, and the most touching scene is the emotional father-and-son reunion of Cuban pianists Bebo and Chucho Valdés, who were separated by Fidel Castro's revolution. Sadly, the film features the last onscreen appearances by the late composer-arranger Chico O'Farrill and the legendary timbales master Tito Puente. Simply put, Calle 54 is a documentary that dances. --Eugene Holley Jr.Long before World Music became a record store staple, Americans were singing along to the sweet sounds of Celia Cruz and dancing to the rhythmic beats of Tito Puente.

Harry Belafonte hosts this globe-trotting, star-studded celebration tracing the history of the popular sounds we call Latin music, from tribal celebrations in African jungles to Cuba's wild carnivals and New York City's hottest nightspots.

This critically acclaimed production highl! ights an incredible array of dancing and musical performances ! from wor ld-renowned stars including Gloria Estefan, Tito Puente, Dizzy Gillespie, Desi Arnaz, Celia Cruz, Ruben Blades, Isaac Oviedo, King Sunny Ade and many more.Don't miss this celebration of the explosive sound that has the whole world dancing.

DVD Features: Interactive Menus; Scene SelectionLatin music has always been a fixture in American popular culture, but its history reflects centuries of change and complexity from diverse sources. Roots of Rhythm, an incredible three-hour film originally shown on PBS in 1997, traces the development of this exciting musical genre, going back 500 years across three continents. Hosted by the famed Caribbean American entertainer Harry Belafonte, the film begins in West Africa, in the villages that ring with the ancestral anthems of sacred Yoruba beats and bata drums. The focus shifts to Spain, where modern-day troubadours sing their haunting, Moorish-tinged ballads and Gypsies dance their heated flamenco dances. Those musical influ! ences are brought together by the transatlantic slave trade in the island of Cuba, where enslaved Africans and Spanish immigrants mixed and melded each others' music into a myriad of new, hybrid creations like the rumba, tumba francesa, danzon, and mambo. Belafonte quotes a poet who said, "Cuban music is a love affair between the African drum and the Spanish guitar."

In America, this love affair bloomed in New York, where Cuban and African American jazz musicians like Machito, Mario Bauza, and Dizzy Gillespie melded mambo rhythms to bebop, creating Latin jazz. Belafonte then brings us to the dazzling timbales master Tito Puente and vocalist Celia Cruz, who reigned as the king and queen of salsa, the stateside version of Cuban dance music that emerged in the '60s. The film offers revealing interviews and music clips with many Latin music stars, including Gloria Estefan of Miami Sound Machine and Panamanian Rubén Blades. The rare archival footage features Dizzy Gillespie! 's 1948 number "Manteca," bandleader Xavier Cugat's "Gypsy Mam! bo," and a cartoon clip of Donald Duck doing "Tico Tico." After watching this engaging and encyclopedic film, you'll never dance to Latin music the same way again. --Eugene Holley Jr.

Divine Secrets of the Ya-Ya Sisterhood: A Novel

• ISBN13: 9780060759957
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

DIVINE SECRETS OF THE YA YA SISTERHOO - DVD MovieGrab your tissues and send the guys away, because Divine Secrets of the Ya-Ya Sisterhood is the most pedigreed chick flick since Steel Magnolias. You can tell by the title and the novelish names of the Louisiana ladies from Rebecca Wells's precious bestseller. First there's Sidda (Sandra Bullock), a successful playwright still wrestling with her manipulative mother, Vivi (Ellen Burstyn), after a traumatic upbringing. Then there's longtime friends Teensy (Fionnula Flanagan), Necie (Shirley Knight), and Caro (scene-stealer Maggie Smith), from Vivi's secret club of "Ya-Ya Priestesses," together since childhood and determined to heal the rift b! etween Sidda and her mom. Through an ambitious flashback structure (including Ashley Judd as the younger Vivi), screenwriter and first-time director Callie Khouri (who wrote Thelma & Louise) establishes a rich context for this mother-daughter reunion. There's plenty of humor to temper the drama, which inspires Bullock's best work in years. Definitely worth a look for the curious, but only fans of Wells's fiction will feel any twinge of loyalty. --Jeff Shannon

When Siddalee Walker, oldest daughter of Vivi Abbott Walker, Ya-Ya extraordinaire, is interviewed in the New York Times about a hit play she's directed, her mother gets described as a "tap-dancing child abuser." Enraged, Vivi disowns Sidda. Devastated, Sidda begs forgiveness, and postpones her upcoming wedding. All looks bleak until the Ya-Yas step in and convince Vivi to send Sidda a scrapbook of their girlhood mementos, called "Divine Secrets of the Ya-Ya Sisterhood." As Sidda struggles to anal! yze her mother, she comes face to face with the tangled beauty! of impe rfect love, and the fact that forgiveness, more than understanding, is often what the heart longs for.

Divine Secrets of the Ya-Ya Sisterhood may call to mind Prince of Tides in its unearthing of family darkness; in its unforgettable heroines and irrepressible humor and female loyalty, it echoes Fannie Flagg's Fried Green Tomatoes at the Whistle Stop Cafe.Wells is a Louisiana-born Seattle actress and playwright; her loopy saga of a 40-year-old player in Seattle's hot theater scene who must come to terms with her mama's past in steamy Thornton City, Louisiana, reads like a lengthy episode of Designing Women written under the influence of mint juleps and Faulkner's Absalom, Absalom!. The Ya-Yas are the wild circle of girls who swirl around the narrator Siddalee's mama, Vivi, whose vivid voice is "part Scarlett, part Katharine Hepburn, part Tallulah." The Ya-Yas broke the no-booze rule at the cotillion, skinny-dipped their way to j! ail in the town water tower, disrupted the Shirley Temple look-alike contest, and bonded for life because, as one says, "It's so much fun being a bad girl!"

Siddalee must repair her busted relationship with Vivi by reading a half-century's worth of letters and clippings contained in the Ya-Ya Sisterhood's packet of "Divine Secrets." It's a contrived premise, but the secrets are really fun to learn.

Friday Night Lights: The Fourth Season

• Condition: New
• Format: DVD
• AC-3; Box set; Color; Dolby; DVD; Subtitled; Widescreen; NTSC

For four years, the residents and students of Dillon, Texas, have faced difficult choices on and off the field with courage, passion and perseverance. Now the time has come to find closure for problems of the past while pursuing new possibilities that will lead many beyond Dillon city limits. But, will everyone be up to the challenge?Saying goodbye to Dillon, Texas, won't be easy for those who've been with Friday Night Lights from the start--especially those who read the book or saw the movie. Over five years on NBC, students graduated, the high school changed (from West to East Dillon), and Eric and Tami Taylor (Kyle Chandler and Connie Britton) and Buddy Garrity (Brad Leland) remained constants, sometimes making mistakes, but always trying to do right by their kids--biological and! otherwise. And few shows offered more believable relationships, from Coach and Tami to Luke (Matt Lauria) and Becky (Madison Burge), who rekindle their romance in the final season.

If the fourth year marked the end of an era, the fifth revolves around new beginnings: Tami returns to her role as guidance counselor (after a controversial reign as principal), Buddy takes his wayward son under his wing, Julie (Aimee Teegarden) has a rough start at college, Billy (Derek Phillips) becomes assistant football coach, Becky moves in with him and his wife, and quarterback Vince (Michael B. Jordan), who continues to see Jess (Jurnee Smollett), tangles with his recently paroled father, Ornette (Cress Williams). Naturally, there are a few new arrivals, but they don't make the same impact as returning Dillon veterans Landry (Jesse Plemons), Jason (Scott Porter), Matt (Zach Gilford), Tyra (Adrianne Palicki), and Billy's younger brother, Tim (Taylor Kitsch), whose adjustment to life aft! er prison parallels Ornette's experience.

This 13-episode a! rc trace s the road to the state championships and marks the end of one of television's most emotionally involving shows, always operating on the principle that everyone can change, and that there's still room on network TV for semi-improvised, documentary-style filmmaking. Deleted scenes, commentary tracks, and a featurette offer a comprehensive look back at a stellar series, truly one of the medium's very best. --Kathleen C. FennessyStudio: Uni Dist Corp. (mca) Release Date: 10/04/2011TV's hottest new drama, Friday Night Lights, touches down on DVD with all 22 Season One episodes in a 5-disc collection! In the small town of Dillon, everyone comes together on Friday nights when the Dillon High Panthers play. But life is not a game; and the charismatic players, new coach Eric Taylor (Kyle Chandler), and the passionate fans find that their biggest challenges and obstacles come off the field in the compelling day-to-day dramas of their tight-knit community. From producer! s Brian Grazer (The Da Vinci Code) and Peter Berg (The Kingdom) comes the critically acclaimed TV series based on the best-selling novel and hit theatrical movie. Discover why The Associated Press calls it "breathtaking in how it captures ordinary life set against extraordinary passions."The first season of Friday Night Lights accomplishes something that few television dramas are able to do: It betters the 2004 film (starring Billy Bob Thornton) on which the series is based. Set in Dillon, Texas, where football--even on the high school level--is everything, Friday Night Lights is a compelling drama with a football subplot. Poignantly and effectively touching on racism, rape, steroids, jealousy, infidelity, and life-changing injuries, the series presents the inhabitants of Dillon as real people who are flawed, but remarkable in their ordinariness. Though the series struggled to find an audience during its inaugural year, it was a critical favorite thanks to som! e fine acting by leads Kyle Chandler (as Coach Eric Taylor) an! d Connie Britton (who portrays his wife, Tami). Coach Taylor's career depends on his ability to get the Dillon Panthers to the state championship. If the team suffers a losing streak, he knows his family, which includes daughter Julie (Aimee Teegarden), will no longer be welcome in Dillon. Britton, who also played the coach's wife in the film version, is a phenomenal actress who shares simmering chemistry with Chandler. Not content at just being the coach's wife, she lands a job as a counselor at the local high school. That position plays a pivotal role in the season finale, which leaves viewers wondering whether Eric will leave Dillon to accept a coveted coaching job with a university. Though the majority of the twentysomething actors appear too mature to portray high school students, they have the mannerisms of teens down pat. Gaius Charles is perfect as cocky running back Brian "Smash" Williams, who'll risk his health to make sure he gets a football scholarship to college. Local! sweethearts Jason Street (Scott Porter) and Lyla Garrity (Minka Kelly) are the high school's golden couple. When a football injury leaves him paralyzed, he finds strength in what the future holds for him, but Lyla finds herself in a short-lived affair with Jason's best friend Tim Riggins (Taylor Kitsch). Once the relationship comes out in the open, their classmates' reactions to the "traitors" show that sexual inequality is rampant even in the teen set. Tim's teammates briefly ostracize him, but just as quickly forgive him, especially since he's so valuable on the football field. But Lyla becomes persona non grata to the girls at school who take too much glee in calling the head cheerleader a slut. The hits she takes verbally are no less lethal than the ones the boys take on the gridiron. And the tentative relationship between Julie Taylor and Matt Saracen (Zach Gilford) is the best depiction of teenage love since Angela Chase fell for Jordan Catalano on My So-Called Li! fe. The actors do a wonderful job conveying the sweetness,! pain, a nd hurt of falling in love without really understanding all of its implications. Peter Berg, who co-wrote and co-directed the film, has a strong presence as a writer on the series and evenly distributes the storylines between the kids and the adults. Friday Night Lights is a drama with teenage characters at its core. But the stories are universal. --Jae-Ha KimOne of the greatest TV dramas of all time continues with 13 gripping fourth season episodes of the critically acclaimed series Friday Night Lights. Small-town life in Dillon has changed irrevocably with the dramatic split of the school district. Coach Taylor (Kyle Chandler) finds himself fighting for the respect of the East Dillon Lions, while his wife, Tami (Connie Britton), faces her own battles as principal of the Dillon High Panthers. Across town, it’s a season for change as graduating students face life after high school, and new students deal with hostile rivalries. From executive producers Brian G! razer, Peter Berg and Jason Katims comes the show that critics rave “may have the greatest emotional range of any series ever on television” (Neal Gabler, Los Angeles Times).The fourth season of Friday Night Lights begins with Coach Taylor (Kyle Chandler) in what appears to be a lose-lose situation. Fired from Dillon High School as the Panthers' football coach, Taylor is offered a position coaching the East Dillon Lions. No matter how the school board tries to spin it with platitudes about both schools being equal, East Dillon is rundown, has no funds, and has a football squad that's a team in name only. Of course we all know that Coach Taylor being who he is, it's only a matter of time before he turns the team around and gets a little vengeance on the snooty Panthers. Meanwhile, his wife Tami (Connie Britton) is principal of Dillon High School, where their daughter Julie (Aimee Teegarden) is a senior. Her boyfriend, Matt (Zach Gilford), who had the chance to go ! to art school in Chicago, stayed behind in the small Texas tow! n becaus e he didn't want to leave behind his grandmother--who's suffering from Alzheimer's--or Julie. Though some of the plot points may sound melodramatic, they play beautifully in the 13 episodes, which originally aired on television during the 2009-2010 season. There are cast changes, reflecting the graduation of some of the characters. Lyla (Minka Kelly) briefly returns from her studies at Vanderbilt to attend a funeral, while Tim (Taylor Kitsch)--the boy she left behind--struggles with his ambivalent feelings for college and his need to help take care of the only family he has: his older brother, sister-in-law, and infant nephew. And new characters like Vince (Michael B. Jordan)--a central part of at least half the story lines--easily fit into the ensemble cast. Meanwhile, Lyla's dad Buddy (played by Brad Leland with just the right combination of sleaze and pathos) turns out to be instrumental in helping get the football program off the ground at East Dillon. Landry (Jesse Plem! ons) realizes that his on-again, off-again girlfriend is never coming back to him. And he's OK with that as he tackles the challenges of being the new kid at East Dillon. But, as his best friend Matt notes, "he's like a girl" when it comes to holding grudges. There also is major fallout for Tami, who is accused of telling a teenager to end her pregnancy, and trouble for a football player who gets hooked on drugs after an injury. When his religious parents tell him to pray, he does: "Dear Lord, please let me get some more drugs before Friday." There are a few scenarios that ring false, like when the Panthers' star quarterback J.D. McCoy (Jeremy Sumpter) seemingly turns into a malicious, spoiled brat overnight. But overall, Friday Night Lights scores just the right touch. --Jae-Ha Kim

Best in Show

• The tension is palpable, the excitement is mounting and the heady scent of competition is in the air as hundreds of eager contestants from across America prepare to take part in what is undoubtedly one of the greatest events of their lives -- the Mayflower Dog Show.Running Time: 89 min. System Requirements: Starring: Jennifer Coolidge, Christopher Guest, John Michael Higgins, Michael Hitchcock

Debut feature director Jay Berman (Christopher Guest), steers cast and crew through a typically tumultuous independent film Home for Purim, an intimate period drama about a Jewish family's turbulent reunion on the occasion of the dying matriarch's favorite holiday. When Internet-generated rumors begin circulating that three of Purim's stars -- faded luminary Marilyn Hack (Catherine O'Hara), journeyman actor and former hot dog pitchman Victor Allan Miller (Harry Shearer), and ingenue Callie Webb (Parker ! Posey) -- may be perpetrating Award-worthy performances, a rumble of excitement rattles the cast. Once "Hollywood Now" anchors Chuck Porter (Fred Willard) and Cindy Martin (Jane Lynch) pick up the buzz, Award fever infects the entire production. Unit publicist Corey Taft (John Michael Higgins), talent agent Morley Orfkin (Eugene Levy), and producer Whitney Taylor Brown (Jennifer Coolidge) all smell the sudden potential for a sleeper hit. As does Sunfish Classics President Martin Gibb (Ricky Gervais), who suggests some last-minute changes to the film that he feels will broaden the film's appeal. Meanwhile, Purim's screenwriters, Lane Iverson (Michael McKean) and Philip Koontz (Bob Balaban) grow steadily more horrified as they watch the first film adaptation of their work diverge from their original story. As the hopeful Purim team careens toward the end of production and the upcoming Award season, tenuous relationships and brittle dreams play out in unexpected ways...Christo! pher Guest (director of A Mighty Wind, Best in Show, and Waiting for Guffman) and his sparkling troupe of improvisational satirists return with a sardonic look at C-list (or perhaps D- or E-list) actors driven to the brink of madness by the possibility of winning an Academy Award. Marilyn Hack (the ever-brilliant Catherine O'Hara, Beetlejuice), a modestly talented character actress, hears of an Internet rumor that she might be nominated for the dubious movie she's currently making, Home for Purim. Soon buzz is flying about all the rest of the cast (which includes Harry Shearer and Parker Posey) and everyone starts clawing for as much attention as they can get while appearing modest and unambitious. Despite the movie's target being so familiar to them, For Your Consideration is not Guest & Co.'s best work--in an effort to give everyone in the huge cast face time, few of the characters gain any comic traction or have a particularly engaging storyline; the mockery stays on a fairly surface level. Nonethe! less, some of those surfaces are pretty funny: Fred Willard and Jane Lynch are devastating as a pair of predatory infotainment hosts, while Jennifer Coolidge (Legally Blonde) turns in a daffy and surreal performance. Throughout, the movie's anchor is O'Hara; the way her character is virtually crushed by the hype has a surprising richness and depth. She remains a cinematic treasure. --Bret FetzerA new comedy from the director of Waiting for Guffman, Best in Show and a Mighty Wind. Special Features includes Commentary by Co-Writers Christopher Guest and Eugene Levy - Over 30 minutes of Hilarious Bonus Material - Home for Purim Poster Gallery - Theatrical Trailer.A BLUE RIBBON LOOK AT DOG SHOW PARTICIPANTS AND THE POOCHES WHO LOVE THEM.Christopher Guest, the man behind Waiting for Guffman, turns his comic eye on another little world that takes itself a bit too seriously: the world of competitive dog shows. Best in Show follows a clutch of dog owners as they prepare and preen their dogs to win a national competition. They include the yuppie pair (Parker Posey and Michael Hitchcock) who fear they've traumatized their Weimaraner by having sex in front of him; a suburban husband and wife (Eugene Levy and Catherine O'Hara) with a terrier and a long history of previous lovers on the wife's part; the Southern owner of a bloodhound (Guest himself) with aspirations as a ventriloquist; and many more. Following the same "mockumentary" format ! of Spinal Tap and Guffman, Best in Show takes in some of the dog show officials, the manager of a nearby hotel that allows dogs to stay there, and the commentators of the competition (a particularly knockout comic turn by Fred Willard as an oafish announcer). The movie manages to paint an affectionate portrait of its quirky characters without ever losing sight of the ridiculousness of their obsessive world. Almost all of the scenes were created through improvisation. While lacking the overall focus of a written script, Best in Show captures hilarious and absurd aspects of human behavior that could never be written down. The movie's success is a testament to both the talent of the actors and Guest's discerning eye. --Bret Fetzer

Conan O'Brien Poster - Can't Stop 2011 Movie Teaser Flyer 11x17 - CS

• Teaser Flyer to promote the Conan O'Brien Movie Can't stop
• Conan O'Brien Movie Can't Stop Promo Flyer
• Size 11 x 17 inches approx (28 x 43 cm)
• Window display/ Telephone Pole Flyer sized Poster

After a much publicized departure from hosting NBC's "Tonight Show," Conan O'Brien hit the road with a 32-city music-and-comedy show. "The Legally Prohibited From Being Funny on Television Tour" was O'Brien's answer to a contractual stipulation that banned his appearance on television, radio and the internet for six months following his last show. Filmmaker Rodman Flender's resulting documentary, CONAN O'BRIEN CAN T STOP, is an intimate portrait of an artist trained in improvisation, captured at the most improvisational time of his career.Even if Conan O'Brien were "Legally Prohibited from Being Funny on Television"--the official name of the 2010 tour featured in the documentary Conan O'Brien Can't Stop, he'd happily be a scofflaw. Longtime TV director Rodman Flender (Ugly Betty) captures both O'Brien's spontaneous humor in his standup comic tour around the United States, but also his rage. O'Brien briefly replaced Jay Leno as host of NBC's The Tonight Show, but ratings for the show plummeted. So NBC dropped O'Brien, and O'Brien got his revenge by selling out shows in 32 cities, featuring equal parts standup, monologue, and screed against NBC. "If there's ever been a time in my life when I could say 'the hell with it,' it would be now," O'Brien says early in the film, setting up his rage as well as finding a pretty good outlet for it. Those who wonder if there's a healthy--or even unhealthy--dose of anger behind most standup comics will see the answer in a largely unguarded O'Brien, captured with raw honesty by Flender, in Conan O'Brien Can't Stop. O'Brien is also joined at various points of the tour by Jim Carrey, Andy R! ichter, Steve Kroft of 60 Minutes (who gets an earful),! Eddie V edder, and others. And O'Brien does manage to be pretty funny, mostly in off-the cuff moments. But Conan O'Brien Can't Stop is notable mostly for O'Brien's willingness to be shown as the pot lid is starting to blow off the boiling pan. And that makes for incredibly gripping viewing. --A.T. HurleyAfter a much publicized departure from hosting NBC's "Tonight Show," Conan O'Brien hit the road with a 32-city music-and-comedy show. "The Legally Prohibited From Being Funny on Television Tour" was O'Brien's answer to a contractual stipulation that banned his appearance on television, radio and the internet for six months following his last show. Filmmaker Rodman Flender's resulting documentary, CONAN O'BRIEN CAN T STOP, is an intimate portrait of an artist trained in improvisation, captured at the most improvisational time of his career.Even if Conan O'Brien were "Legally Prohibited from Being Funny on Television"--the official name of the 2010 tour featured in the do! cumentary Conan O'Brien Can't Stop, he'd happily be a scofflaw. Longtime TV director Rodman Flender (Ugly Betty) captures both O'Brien's spontaneous humor in his standup comic tour around the United States, but also his rage. O'Brien briefly replaced Jay Leno as host of NBC's The Tonight Show, but ratings for the show plummeted. So NBC dropped O'Brien, and O'Brien got his revenge by selling out shows in 32 cities, featuring equal parts standup, monologue, and screed against NBC. "If there's ever been a time in my life when I could say 'the hell with it,' it would be now," O'Brien says early in the film, setting up his rage as well as finding a pretty good outlet for it. Those who wonder if there's a healthy--or even unhealthy--dose of anger behind most standup comics will see the answer in a largely unguarded O'Brien, captured with raw honesty by Flender, in Conan O'Brien Can't Stop. O'Brien is also joined at various points of the tour by Jim Car! rey, Andy Richter, Steve Kroft of 60 Minutes (who gets ! an earfu l), Eddie Vedder, and others. And O'Brien does manage to be pretty funny, mostly in off-the cuff moments. But Conan O'Brien Can't Stop is notable mostly for O'Brien's willingness to be shown as the pot lid is starting to blow off the boiling pan. And that makes for incredibly gripping viewing. --A.T. HurleyConan O'Brien Movie Can't stop flyer