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Nashville International Airport—Fat Bottom Brewing Has Arrived—New Opening by HMSHost
Flagship, seasonal locally made brews now available for C Concourse travelers
NASHVILLE, TN — East Nashville's first brewery, Fat Bottom Brewing, now has a new kiosk location inside Nashville International Airport. Located in the airport's C Concourse, global restaurateur HMSHost is the company bringing this neighborhood favorite to the airport for travelers to grab a beverage and relax before departure.
"HMSHost is very excited to partner with the Metropolitan Nashville Airport Authority and such a beloved local company like Fat Bottom Brewing to bring a modern piece of Nashville culture into the airport," said HMSHost Vice President of Business Development Kent Vanden Oever.
The Fat Bottom Brewing kiosk will be an extension of its West Nashville taproom and offer travelers a "taste of Nashville" via Fat Bottom mainstays and seasonal favorites. The flagship beers being offered include Ruby Red Ale, Knockout IPA, Ida Golden Ale, WAC American Pale Ale, and the ACME Rooster Brew, which is crafted exclusively for Nashville's famous Acme Feed & Seed restaurant.
Fat Bottom Brewing is open seven days a week and all beers will be available on draft and can be consumed at the kiosk, walking through the concourse or at your gate. Travelers who stop by can also take a little bit of Nashville home; 4-packs of 16-ounce cans are available for purchase to enjoy later at your final destination.
"I see this as a great opportunity to showcase another homegrown, Nashville business to the millions of visitors that pass through the airport every year. Everybody at Fat Bottom is excited and grateful that the Airport Authority and HMSHost agreed to partner with the brewery on this new kiosk in Concourse C," said Fat Bottom Founder Ben Bredesen.
"It is important that our airport is a reflection of the city we serve, which includes the sights, sounds and tastes of Music City, so we are delighted to welcome another popular local brewery to Nashville International Airport," said Doug Kreulen, Metropolitan Nashville Airport Authority president and CEO. "Congratulations, Fat Bottom Brewery, and welcome to BNA."
HMSHost operates several restaurants at Nashville International Airport, providing original and regional dining experiences to travelers such as the Berry Field Bistro, Tennessee Tavern, Gibson Café, and more. A list of existing HMSHost-operated locations at Nashville International Airport is available on the HMSHost location finder map.
About HMSHost Global restaurateur HMSHost is a world leader in creating dining for travel venues. HMSHost operates in more than 120 airports around the globe and 99 travel plazas in North America. The Company has annual sales in excess of $3.1 billion and employs more than 39,500 sales associates worldwide. HMSHost is a part of Autogrill Group, the world's leading provider of food & beverage services for people on the move. With sales of over €4.5 billion in 2016, the Group operates in 31 countries and employs over 57,000 people. It manages approximately 4,000 stores in about 1,000 locations worldwide. Visit www.HMSHost.com for more information. We can also be found on Facebook at fb.com/HMSHost and on Twitter at @HMSHost.
About The Metropolitan Nashville Airport Authority (MNAA)
The Metropolitan Nashville Airport Authority (MNAA) was established in 1970, and owns and operates Nashville International Airport (BNA) and John C. Tune Airport (JWN). With more than 14.1 million passengers visiting each year, Nashville International Airport is the fourth fastest growing airport among the top 50 airports in North America. BNA serves 450 daily flights to more than 65 nonstop markets. It is now the 33rd busiest airport in the U.S. MNAA is an Equal Opportunity Employer. For more information, please visit flynashville.com. Like us on Facebook at facebook.com/NashvilleInternationalAirport and follow us on Twitter: @Fly_Nashville and Instagram: @FlyNashville. Learn more about BNA Vision, our growth and expansion plan for the airport, at BNAVision.com.
About Fat Bottom Brewing
Since its opening in 2012, Nashville-based Fat Bottom Brewing set out to make beers that are bigger and more flavorful than what one can find at his or her local bar. Its mission was to provide brews with a universal appeal, based on a wide variety of styles from around the world. In the beginning of 2017, Fat Bottom moved to a new, state-of-theart, 33,000 square-foot facility that allowed it to create a higher capacity than ever before, bringing the market even more beer full of flavor and personality, without skimping on consistency and quality. For more details on Fat Bottom, visit www.fatbottombrewing.com.


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"Life has but a handful of central conflicts, replayed by each person with the same ferocity and intensity
as if they were the first." - Zen Buddhist saying
Just like the quotation on life, there are a handful of deeply important, potentially life-changing questions
regarding students' academic careers that I hear many times. I've arranged the most common below in the approximate
chronological order of career development, from high school senior through first class year. Unfortunately I don't
have the answers, but perhaps I can raise some new questions that aren't immediately obvious.
There are over 120 schools in the United States alone that offer graduate
degrees in Electrical Engineering. One easy way to help you narrow
your choices is to first decide what kind of degree you want. Contrary
to popular understanding, the degree following a B.S. in engineering may be
either of two types of Masters degrees, or you may proceed directly to a
Ph.D. Here are some questions that may help:
For every publicly-announced scholarship or job there will be many tens, if not hundreds of applications.
Think of a stack of resume's that are over an inch thick. Even if you have the right background, if you do
the same thing every other applicant does (carefully complete the paperwork, put thought and multiple
drafts into your essay, and ask professors with positive opinions of you to fill out a reference form)
you have only have a small statistical chance at best. To have any reasonable chance, you have to do something
different. But what else can you do besides ask your professors for a recommendation?
You won't get a great letter of recommendation by giving your professor the recommendation form and hoping
for the best. The most common result will be the professor will check the boxes, handwrite something like
"Joe is an excellent student in my class. His classmates always seek him for homework advice. He shows great
leadership, and works extremely hard. His insights on homework are very good and shows he makes connections to
other subjects well. He would make an excellent (officer/graduate student/employee) and I give him my highest
Sounds like a good one? It's not. It's bad. It's the kind that will be weeded out first
on the selection committee, just behind the applicant whose mailing address is a federal prison, and
it will be the kind you'll receive if you hand out a recommendation form and say "please fill this out".
This recomendation is typical of what every other applicant is getting. It shows the professor who wrote it didn't care to
do more than do a search-and-replace on the Generic Recommendation.docx file they all have to change
the name. If the job or scholarship is competitive, you've just lost your chance.
How should you do it? Give your professor an set of bulleted examples that illustrate examples of
what the review committee wants to see. Specifically:
What if I can't come up with several bullets to illustrate a characteristic? Choose a different
What if I can't come up with any examples for any characteristics that my professor has
observed? Choose a different professor.
Won't this take a lot of time to write for each professor? Absolutely! This is why so few
students do it, and why it's actually fairly easy for a reviewer to take 100 applications and quickly cull them
down to 3 or 4 that actually stand a chance. Think of it this way: if it takes an additional 4 hours per
professor, and you have 3 references that you need for a $12,000 scholarship, it's a $1,000 an hour
investment in time you are taking to do it right. It's hard to find a campus job that pays that well.


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I see it every day. I am not saying this to everyone, but in varying degrees it is true for all of us.
Your wardrobe is dead.
It no longer expresses who you are and your clothes don't fit you properly. The biggest telltale sign is the underwear drawer. The panties are too tight and the elastics cut into the beautiful soft flesh of your hips, causing them to not look Rubenesque and curvy anymore. Instead your hips have multiple curves semi-permanently carved into your flesh by the constant wearing of elestics that are too small. Also your bra doesn't fit you anymore. The underwire cuts into the sides of your breasts, or the elastic has lost its strength or you have given up on wearing one all together because it is not comfortable.
There are many other signs that your wardrobe is dead to you: You don't feel excited in the morning when you look into your closet. You don't feel beautiful, powerful, sexy or self-expressed. You say that you hate shopping.
I could go on an on, but I think some (if not all) of this resonates with you. Here is what you can do. This is not going to be easy. You will feel resistance. Push through and do it anyways:
1- Buy new panties that are the right size for the current you and one bra that was chosen for you by a professional in the underwear store.
2- Stop thinking that you should only buy clothes when you loose some weight. You feel like you don't like what you see in the mirror, but the rest of us see a beautiful you. The only way for you to see the same beautiful woman that we all see is for you to accept yourself NOW and dress yourself NOW. You may loose weight in the future, but that future self will also need new clothes. Commit to letting your wardrobe evolve with you your whole life long.
3- Get rid of old stuff. As much as possible. Invite a friend to help you eliminate if you need the push. Open a bottle of wine. Give yourself time to really try things on again. Allow yourself a pile of clothes that you keep for sentimental reasons, but eliminate everything that is ill-fitting, worn out, has holes that cannot be repaired or is stylistically outdated. Then quickly drive it all to your local charity. There! You just made a donation to your community. Good stuff.
4- Think about who you are now and what you like now. Maybe you have lots of nice clothes in your wardrobe, but they were for your 30-40-50 year old self (choose whatever age you were 10 years ago). Either way, they don't make you feel like the woman you want to be now. Maybe you wore tight black clothes for a long time, but now you are ready to be seen and you want to wear red and purple. Maybe you were very frilly and feminine and now you are more sporty? Let your wardrobe evolve to express your current self. It is the most simple way for you to live many different selves in your lifetime and to feel like you are living in the present.
5- Shopping doesn't have to be so painful. You say you hate shopping. I agree for the most part, but there are exceptions and you might need to venture out of your neighbourhood to find them. Ask around, ask facebook, ask the one store you do like if they would recommend other stores. There are places with good customer service, professional stylists that serve you and know their merchandise well enough to make recommendations. Be adventurous. Try on new things.
6- Allow a budget for this. I am not saying that you can't do this on the cheap. You can. You can thrift shop, have things altered and organize clothing swaps. If that sounds like too much work, give yourself a reasonable budget every season (twice per year) to update your wardrobe with some new pieces. Think of what that budget could be for you. Pick a number. Now double it. Yup. I said it. You can resist this advice if you want. But if you really want to be happy and exited and be able to afford a few pieces that truly inspire you, you will find that having more money to spend actually gives you some freedom.
7- Buy some make up. If you don't wear make-up, buy some new fresh smelling lip balm. Making a little effort goes a long way. Pretty hair barrettes, a light touch of blush and a little under eye concealer are my magic trio to a quick fix in the morning. Now go find yours.
I believe in you. You can do this.
About Katrin Leblond:
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5 Responses to "Are you alive? So why is your wardrobe dead? 6 not-so-easy steps to feeling new."
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Soul of the Hooligan
You don't run, not when you're with us...
Football hooligans! The words are enough to strike terror into the hearts of the upstanding middle classes and have entire towns boarded up and quaking with fear.
Garry's guest has more than a casual acquaintance with the subject. Dougie Brimson, a former hooligan himself turned bestselling writer, is an expert. Join us tonight as we explore this controversial topic in depth.
With over half a million books sold worldwide, Dougie's first title was Everywhere We Go – first published in 1996, it remains a cult classic. His first novel, The Crew, held the #1 slot on the soccer charts of both Amazon and iTunes for over two years and was the most downloaded football related title of 2012 and 2013!
In 2003 Dougie made the move into screenwriting with It's a Casual Life, a 15-minute film looking at the world of football violence from a Casuals perspective.
His first full length feature, the Hollywood funded Green Street starring Elijah Wood, was released in September 2005 and has won numerous awards.


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|Fecha / hora: 2012-10-08 14:34:06
|Nombre: Sebastian
Recently I bought a ticket and I have not recived it. And I am going to travel tomorrow morning, so I need my ticket
|Fecha / hora: 2012-10-08 20:42:39
|Nombre: Pavla
Dear Sebastian,
according to communication by email I found I believe you have already your ticket. Just to make sure I resent it to you again. I think that your e-tickets ended in your spam folder. It sometimes happen. Just try check it.
Kind regards Pavla


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Angeldust - My Video Collection
My Video Collection
After cataloguing my music collection I thought it was about time I did my films as well. I have listed all sequels alongside their original counterpart so that series can be viewed as one.
Please select a letter to browse by title:
If there's an undersea adventure with high-tech equipment, macho posturing, and lots of underwater photography, you know James Cameron must be swimming around the vicinity. Add the fact that Sanctum was released to theaters in 3-D, and it's clinched. Cameron served as executive producer to this crazy tale of a cave-diving expedition forced to improvise when a typhoon inundates their New Guinea location. (The film, shot in Australia, is allegedly based on a true event by co-screenwriter Andrew Wight, but it might be safe to conclude that the original incident was a jumping-off point for the high melodrama on display here.) A globetrotting billionaire (Ioan Gruffudd, of Fantastic Four) is underwriting this exploration of a hidden cave maze, which explains why he gets to bring his girlfriend (Alice Parkinson) along. As a measure of their thrill-seeking habits, we are told they met on an Everest climb. The cave-diving boss is a crusty old pro (Richard Roxburgh), who is rough on his underlings and even rougher on his teenage son (Rhys Wakefield); naturally, the cataclysm that follows will be an occasion for some extreme father-son fence mending. As cornball as these elements are, and as generally toneless as director Alister Grierson's ear is with the dialogue scenes, Sanctum does work up some bona fide thrills: the sheer power of water is unleashed at a few memorable spots, as is the panic of losing an oxygen tank at a crucial moment. It's also pretty brutal, with a steep body count and a few grotesque bits of bodily injury. It ought to be easy to dismiss Sanctum as a silly piece of boy's adventure, but--curse you, Cameron!--one must admit that the thing is awfully effective. - Robert Horton, Amazon
Three tales based on patients of a mental institution and the stories which led to their crazed states of minds. Hallucinations, imaginary voices and alternate realities, mixed with the paranormal, the unexplainable and the mystical. Starring - John Glover, Lou Diamond Phillips, Robert Englund and Lacey Chabert
Scanner Darkly - Animation
How well you respond to Richard Linklater's A Scanner Darkly depends on how much you know about the life and work of celebrated science fiction writer Philip K. Dick. While it qualifies as a faithful adaptation of Dick's semiautobiographical 1977 novel about the perils of drug abuse, Big Brother-like surveillance and rampant paranoia in a very near future ("seven years from now"), this is still very much a Linklater film, and those two qualities don't always connect effectively. The creepy potency of Dick's premise remains: The drug war's been lost, citizens are kept under rigid surveillance by holographic scanning recorders, and a schizoid addict named Bob Arctor (Keanu Reeves) is facing an identity crisis he's not even aware of: Due to his voluminous intake of the highly addictive psychotropic drug Substance D, Arctor's brain has been split in two, each hemisphere functioning separately. So he doesn't know that he's also Agent Fred, an undercover agent assigned to infiltrate Arctor's circle of friends (played by Woody Harrelson, Winona Ryder, Rory Cochrane, and Robert Downey, Jr.) to track down the secret source of Substance D. As he wears a "scramble suit" that constantly shifts identities and renders Agent Fred/Arctor into "the ultimate everyman," Dick's drug-addled antihero must come to grips with a society where, as the movie's tag-line makes clear, "everything is not going to be OK." While it's virtually guaranteed to achieve some kind of cult status, A Scanner Darkly lacks the paranoid intensity of Dick's novel, and Linklater's established penchant for loose and loopy dialogue doesn't always work here, with an emphasis on drug-culture humor instead of the panicked anxiety that Dick's novel conveys. As for the use of "interpolated rotoscoping"--the technique used to apply shifting, highly stylized animation over conventional live-action footage--it's purely a matter of personal preference. The film's look is appropriate to Dick's dark, cautionary story about the high price of addiction, but it also robs performances of nuance and turns the seriousness of Dick's story into... well, a cartoon. Opinions will differ, but A Scanner Darkly is definitely worth a look--or two, if the mind-rattling plot doesn't sink in the first time around. -
Jeff Shannon
David Cronenberg's 1981 horror film Scanners is a darkly paranoid story of a homeless man (Stephen Lack) mistakenly believed to be insane, when in fact he can't turn off the sound of other people's thoughts in his telepathic mind. Helped by a doctor (Patrick McGoohan) and enlisted in a programme of "scanners"--telepaths who also can will heads to explode--he becomes involved in a battle against nefarious forces. A number of critics consider this to be Cronenberg's first great film, and indeed it has a serious vision of destiny that rivals some of the important German expressionist works from the silent cinema. Lack is very good as the odd hero, and McGoohan is effectively eccentric and chilly as the scientist who saves him from the street, only to thrust him into a terrible struggle. --Tom Keogh, Amazon.com
Screamers is a little known but great Sci-Fi flick about a group of colonists trapped on another planet, at war against an army of small robots that have evolved from their own original designs. These 'Screamers' are evolving fast & what was little more than a circular saw on steroids is starting to imitate humans. This film is directed very much the old fashioned way, but this is what makes it so great. If this was to be remade today it would be ruined by macho characters, clichés, poor CGI & terrible acting. Without these features it is an atmospheric & gripping story. NB
|Screamers: The Hunting
In this sequel to the cult classic SCREAMERS, a rescue team is lured by a distress signal to a long abandoned planet where they encounter an army of robotic killing machines whose sole objective is to escape to Earth and destroy the human race. - Amazon
|The Shape Of Water
Another great movie from Guillermo del Toro set in 60s USA where a new aquatic lifeform is captured for experimentation only to capture the attention of a mute cleaning lady. As with all Guillermo films this has a beautiful flair which will keep you fascinated throughout. - NB
It's no disparagement to describe Simon Pegg and Edgar Wright's zombie-rom-com Shaun of the Dead as playing like an extended episode of Spaced. Not only does the movie have the rather modest scope of a TV production, it also boasts the snappy editing, smart camera moves, and deliciously post-modern dialogue familiar from the sitcom, as well as using many of the same cast: Pegg's Shaun and Nick Frost's Ed are doppelgangers of their Spaced characters, while Jessica Stevenson and Peter Serafinowicz appear in smaller roles. Unlike the TV series, it's less important for the audience to be in on the movie in-jokes, though it won't hurt if you know George Romero's famous Dawn of the Dead trilogy, which is liberally plundered for zombie behaviour and mythology. Shaun is a loser, stuck in a dead-end job and held back by his slacker pal Ed. Girlfriend Liz (Kate Ashfield) is exasperated by his lack of ambition and unceremoniously dumps him. As a result, Shaun misses out on what is apparently the end of the world. In a series of beautifully choreographed and edited scenes, including hilarious tracking shots to and from the local shop, he spectacularly fails to notice the death toll and subsequent zombie plague. Only when one appears in their back garden do Shaun and Ed take notice, hurling sundry kitchen appliances at the undead before breaking out the cricket bat. The catastrophe proves to be the catalyst for Shaun to take charge of his life, sort out his relations with his dotty mum (Penelope Wilton) and distant stepdad (Bill Nighy), and fight to win back his ex-girlfriend. Lucy Davis from The Office and Dylan Moran of Black Books fame head the excellent supporting cast. - Mark Walker
Shawshank Redemption
psychological horror rather than the classic ghosts &
goblins. It
a film that does one of his books justice. All
to often they are made into 2nd rate, low budget affairs that populate
the lower shelves of the video stores, whereas Shawshank Redemption has
grown to be one of the best loved movies of its time. Telling
accountant wrongly imprisoned for the
murder of his wife, it shows how he copes with the pre-historic way he
is treated eventually leading to great popularity among the inmates
& guards alike. NB
Shining - 1980
Stanley Kubrick's The Shining is less an adaptation of Stephen King's best-selling horror novel than a complete re-imagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's film is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook Hotel mirror the emptiness in the soul of the blocked writer settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him--all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demand s for take after take after take.) The Shining is terrifying--but not in the way fans of the novel might expect. When it was redone as a TV mini-series (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there--but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones;; it stays with you, inhabits you, haunts you. And there's no place to hide... - Jim Emerson, Amazon.com
King's The
Shining - 1997
Stephen King's The Shining is a new adaptation from the author himself, made for American television, that bears very little resemblance to the 1980 Stanley Kubrick version. Which is not surprising since Kubrick practically threw out most of King's novel and presented his own version of the story. Here King redresses the balance in a mini-series that follows his original almost to the letter, and manages to be effectively creepy despite the budget and censorship limitations of the TV format. Stephen Weber takes over the role of Jack Torrance, the caretaker who slowly descends into madness in the haunted Overlook Hotel. His performance is as far from Jack Nicholson as you could get, with his insanity building slowly and menacingly rather than being virtually mad from the get-go. Rebecca de Mornay is superb as Wendy Torrance, struggling to hold her fragile family together amid the spooky goings on. Young Courtlan Mead plays Danny, whose unique gifts give the story its title, as one of those infuriating TV brats who overacts left right and centre. Fortunately, there are enough creepy moments and a fair few frights to hold the whole thing together: the woman in the bathtub scene being a stand out shocker. Sure, there is nothing quite like Nicholson's "Here's Johnny!" moment, but this is the story King wanted to tell and it still shines brighter than most of the other recent screen adaptations of his work. On the DVD: Stephen King's The Shining is a nicely packaged set, with the film spread over two discs complete with a commentary featuring Stephen King himself, instantly making this set a must-have for his fans. There are also several deleted scenes which add some interest to parts of the movie. The transfer is good, considering its TV origins, and the crisp sound captures every spooky moment on this well-thought-out and presented set. - Jonathan Weir
|Shikoku - Japanese
I do not know whether my particular copy was slightly faulty, but the picture was very unsteady in places, almost as though the director wanted to make the viewer feel as though he was watching a home video. If nothing else, the unsteadiness of the picture contributed to the unsettling effect of the film.
The film is set in rural Japan, which perhaps sets it apart from other Japanese horror films which I have watched. As a result, the way of life seems unfamiliar to a Western viewer. Although there is a sense in which all Japanese horror films can be regarded as exploring certain aspects of Japanese spirituality, this film does so in a more traditional sense in that Japanese temples play an important role. I have no way of knowing whether the events which take place in the temples are authentic or not. The unfamiliarity of the setting and the religious practices contributes to the viewer's feeling that he is having a new cinematic experience. The heroine is a sympathetic figure. Unfortunately, she is surrounded by people who are not all they seem. Although the basic premise of the film becomes apparent about halfway through, the ending is not clear, so the viewer is sufficiently interested to watch the film until the end. This is psychological horror; it is definitely not a "slasher" movie. - S K Goffin
|Shiver - Spanish
From the producer of Pan's Labyrinth and The Orphanage comes Shiver
Santi is a teenager who suffers from photophobia, a severe aversion to sunlight that disfigures the skin. He and his single mother are forced to move away from the city to a shaded, remote village in the mountains where they take up residence in an old farmhouse. Not long after their arrival animals and then peple are found brutally murdered and suspicion falls on the newcomer. But in the darkness of the forest something is hiding. And now it's coming for Santi...
"If this picture doesn't make you scream and squirm, you should see a psychiatrist--quick!" shouts the film's trailer. This time the hyperbole is right. Shivers, David Croneberg's debut feature and Canada's first domestic horror film, is an ingeniously engineered modern horror that, like George Romero's Night of the Living Dead (1968), charts a social breakdown by tearing through our most intrinsic taboos. A genetically engineered designer parasite--part-aphrodisiac, part-venereal disease--created by a modern day mad scientist escapes into a colourless, self-contained apartment complex and goes searching for hosts. This monstrous parasite multiplies and invades the alienated occupants, turning them into a pack of Id-driven sex maniacs. Cronenberg's suffocating vision of modern life turns his budgetary limitations--dreary, bland sets, flat lighting and numb performances--into a severe portrait of society out of touch with its physical and emotional existence. Cronenberg pushed the boundaries of gore in 1974, but more insidious is the way he pushes the boundaries of behaviour: under the influence of this insidious, invasive disease families turn to incest and murder, strangers sexually assault the helpless and finally they band together as a pack of bloodthirsty, libido-driven animals. That taboo-breaking display still has the power to get under your skin. The film has also been released under the titles The Parasite Murders and They Came From Within. Cult horror icon Barbara Steele co-stars. - Sean Axmaker
|Shutter - Thai
Late one night on a country road, Tun & Jane accidentally run down a mysterious pedestrian. Fleeing the scene, they return to their lives in Bangkok but soon discover that things have changed. Nightmares haunt Jane's dreams while Tun, a photographer, begins to see mysterious shadows in his developed photos. - Amazon Synopsis
|Shutter Island
It's 1954, and up-and-coming U.S. marshal Teddy Daniels is assigned to investigate the disappearance of a patient from Boston's Shutter Island Ashecliffe Hospital. He's been pushing for an assignment on the island for personal reasons, but before long he wonders whether he hasn't been brought there as part of a twisted plot by hospital doctors whose radical treatments range from unethical to illegal to downright sinister. Teddy's shrewd investigating skills soon provide a promising lead, but the hospital refuses him access to records he suspects would break the case wide open. As a hurricane cuts off communication with the mainland, more dangerous criminals "escape" in the confusion, and the puzzling, improbable clues multiply, Teddy begins to doubt everything - his memory, his partner, even his own sanity - Alfiehitchie
|Side Effects
Emily (Rooney Mara - The Girl with the Dragon Tattoo) and Martin (Channing Tatum - The Vow) are successful New York couple whose world unravels when a new drug prescribed by Emily's psychiatrist (Jude Law - Sherlock Holmes) intended to treat anxiety has unexpected and dangerous side effects. From director Steve Soderbergh (Contagion, Magic Mike, Ocean s Eleven, Twelve, Thirteen) comes a riveting psychological thriller where neither the symptoms nor the cure are quite as straightforward as they seem. - Amazon
Director-writer M Night Shyamalan brings his distinctive, oblique approach to aliens in Signs after tackling ghosts (The Sixth Sense) and superheroes (Unbreakable). With Mel Gibson replacing Bruce Willis as the traditional Shyamalan hero--a family man traumatised by loss--and leaving urban Philadelphia for the Pennsylvania sticks, the film starts with crop circles showing up on the property Gibson shares with his ex-ballplayer brother (Joaquin Phoenix) and his two troubled pre-teen kids (pay attention--all these character quirks turn out to be important). Though the world outside is undergoing a crisis of Independence Day-sized proportions, Shyamalan limits the focus to this family, who retreat into their cellar when "intruders" arrive from lights in the sky and set out to "harvest" them. Just as Unbreakable slowly revealed itself to be Superman re-thought as an intense personal drama, this is The Birds redone as a religious drama of faith lost and perhaps regained. The tone is less certain than the earlier films--some of the laughs seem unintentional and Gibson's performance isn't quite on a level with Willis's commitment--but Shyamalan still directs the suspense and shock dramas better than anyone else. On the DVD: Signs has THX-certified Dolby Digital Surround Sound which reproduces in the home exactly as the scary sounds that creeped you out in the cinema. A selection of deleted scenes are mostly tiny, but there's a self-reflexive joke (wisely dropped but worth preserving) as Gibson wishes his dead wife were here in the crisis because she was so smart: "She always knew how movies would end." A six-part making-of goes deeper than the usual puff-piece, including an interesting alternative to a commentary track as Shyamalan talks through a précis of clips and on-set snippets. A tradition continued from the Sixth Sense and Unbreakable DVDs is an extract from Pictures, "Night's first alien film". It's a teenage camcorder effort in which the future A-list Hollywoodian is menaced by a tiny Halloween-masked robot. Also included are a "multi-angle storyboards" feature, subtitles in a clutch of languages and eerie menu screens. - Kim Newman
A lot of movies can be described as "dripping with atmosphere," but in the case of Silent Hill it's literally true. Faithfully adapted from the Konami video games by French director Christophe Gans and Pulp Fiction cowriter Roger Avary (both self-confessed video game addicts), this dark and grisly horror-fest is nothing if not a triumph of cinematography and production design, consisting of a minimal and mostly incoherent plot propped up by a mysterious maze of sets that literally seep, drip, and ooze with the atmospheric evil of past misdeeds. Welcome to the abandoned and perpetually foggy ghost town of Silent Hill, where grey ash falls like snow, a devastating coal-mine fire still burns in a hellish underground, and demons of various shapes and sizes make your worst nightmares seem like a walk in the park. It's here that distressed mother Rose (played by Pitch Black heroine Radha Mitchell) has taken her daughter Sharon (Jodelle Ferland) in hopes of discovering the source of Sharon's sleepwalking nightmares. What they find instead is a burned-out legacy of unspeakable evil, as Silent Hill's dark secrets are revealed. As opposing denizens of Silent Hill's meta-morphing underworld, Canadian actresses Alice Krige and Deborah Kara Unger seem to be the only ones who recognize this morbid mess as campy comedy;; Gans (who established his visual flair with The Brotherhood of the Wolf) and Avary take it far too seriously, and the entire movie is utterly devoid of any emotional hooks or plot logic that would make us care about anything that happens. In crafting a loyal big-screen rendition of Silent Hill and its Playstation sequels, they've forgotten that movies play by a different and more demanding set of rules. As a result, they've made an impressive-looking but ultimately hollow horror film that only Silent Hill game-players can truly appreciate. - Jeff Shannon
|Silent Hill Revelation
Heather Mason (Adelaide Clemens) and her father, Christopher (Sean Bean), have been evading for years forces of a nature that she does not fully recognize. On the eve of her eighteenth birthday, plagued by nightmares and Christopher's disappearance, she discovers that her presumed identity is false, leading her to an alternate dimension existing in the strange town of Silent Hill, and a cult led by Claudia Wolf (Carrie-Anne Moss) and the insane Leonard Wolf (Malcolm McDowell). - Amazon Synopsis
Brutal and breathtaking, Sin City is Robert Rodriguez's stunningly realized vision of Frank Miller's pulpy comic books. In the first of three separate but loosely related stories, Marv (Mickey Rourke in heavy makeup) tries to track down the killers of a woman who ended up dead in his bed. In the second story, Dwight's (Clive Owen) attempt to defend a woman from a brutal abuser goes horribly wrong, and threatens to destroy the uneasy truce among the police, the mob, and the women of Old Town. Finally, an aging cop on his last day on the job (Bruce Willis) rescues a young girl from a kidnapper, but is himself thrown in jail. Years later, he has a chance to save her again. Based on three of Miller's immensely popular and immensely gritty books (The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard), Sin City is unquestionably the most faithful comic-book-based movie ever made. Each shot looks like a panel from its source material, and director Rodriguez (who refers to it as a "translation" rather than an adaptation) resigned from the Directors Guild so that Miller could share a directing credit. Like the books, it's almost entirely in stark black and white with some occasional bursts of color (a woman's red lips, a villain's yellow face). The backgrounds are entirely digitally generated, yet not self-consciously so, and perfectly capture Miller's gritty cityscape. And though most of Miller's copious nudity is absent, the violence is unrelentingly present. That may be the biggest obstacle to viewers who aren't already fans of the books and who may have been turned off by Kill Bill (whose director, Quentin Tarantino, helmed one scene of Sin City). In addition, it's a bleak, desperate world in which the heroes are killers, corruption rules, and the women are almost all prostitutes or strippers. But Miller's stories are riveting, and the huge cast--which also includes Jessica Alba, Jaime King, Brittany Murphy, Rosario Dawson, Benicio Del Toro, Elijah Wood, Nick Stahl, Michael Clarke Duncan, Devin Aoki, Carla Gugino, and Josh Hartnett--is just about perfect. (Only Bruce Willis and Michael Madsen, while very well-suited to their roles, seem hard to separate from their established screen personas.) In what Rodriguez hopes is the first of a series, Sin City is a spectacular achievement. - David Horiuchi, Amazon.com
Sixth Sense
"I see dead people," whispers little Cole Sear (Haley Joel Osment), scared to affirm what is to him now a daily occurrence. This peaked nine-year old, already hypersensitive to begin with, is now being haunted by seemingly malevolent spirits. Child psychologist Malcolm Crowe (Bruce Willis) is trying to find out what's triggering Cole's visions but what appears to be a psychological manifestation turns out to be frighteningly real. It might be enough to scare off a lesser man, but for Malcolm it's personal--several months before, he was accosted and shot by an unhinged patient, who then turned the gun on himself. Since then, Malcolm has been in turmoil--he and his wife (Olivia Williams) are barely speaking, and his life has taken an aimless turn. Having failed his loved ones and himself, he's not about to give up on Cole. The Sixth Sense, M Night Shyamalan's third feature, sets itself up as a thriller, poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. Many critics faulted the film for being mawkish and New Age-y, but no matter how you slice it, this is one mightily effective piece of filmmaking. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, forsaking excessive gore for a sinisterly simple feeling of chilly otherworldliness. Willis is in his strong, silent type mode here, and gives the film wholly over to Osment, whose crumpled face and big eyes convey a child too wise for his years;; his scenes with his mother (Toni Collette) are small, heartbreaking marvels. And even if you figure out the film's surprise ending, it packs an amazingly emotional wallop when it comes, and will have you racing to watch the movie again with a new perspective. You may be able to shake off the sentimentality of The Sixth Sense but its craftsmanship and atmosphere will stay with you for days. - Mark Englehart
"God hates us all" is the cheery message delivered by heavy metal mongers Slayer during War at the Warfields, and with their emphasis on themes such as violence and death, Satanism and necrophilia, this is clearly not a band that will appeal to fans of, say Kenny G. Still, it's a safe bet that none of the thousands who crammed into San Francisco's Warfield Theatre in December 2001 to scream, thrash, mosh and headbang for this 90-minute show went home unhappy. But then, why would they? Loud, fast, ultra-aggressive, relentlessly anti-melodic music doesn't come any harder than this;; Slayer's energy is undeniable, as is the catharsis they provide their fans. And if the band (at least bassist-singer Tom Araya) seems to take it all a tad less seriously than their young, hollow-eyed, nihilistic adherents (many of whom are interviewed in a 50-minute documentary featured in the DVD bonus material), well, that's show biz. - Sam Graham
The secret to "getting" Tim Burton's Sleepy Hollow is appreciating that it's the film he's wanted to make his whole life. After the intimately expressive Edward Scissorhands, this is his most personal venture. Burton's Gothic style--apparent through all his work--stems from a childhood misspent watching the horror movies of Roger Corman, Hammer studios, and anything featuring his idol Vincent Price. For Sleepy Hollow Burton surrounded himself with his usual collaborators and friends;; the production was almost entirely shot on location outside London to reunite him with key members of the crew he'd used a decade earlier in Batman, and also to capture the atmosphere of Hammer horror on its own turf.Johnny Depp's Constable Ichabod Crane warmly emulates the mannerisms and enunciation of Peter Cushing. In a prologue scene Burton plays out a long-held fantasy by pitting Depp against Christopher Lee. And it is fantasy that categorises the film throughout, from the mythical fireside telling of the Hessian Horseman's origin (a mesmerising Christopher Walken), to the bright spots of colour saturating Crane's childhood dreams (featuring Burton's real-life love Lisa Marie). These moments literally shine out amid a meticulously crafted look for the film, which underwent a bleaching process to tone things down to an almost monochrome hue. The Scooby Doo-like whodunnit plot, concerning family lineage and petty vengeance, is naturally secondary to what Burton is aiming to achieve through photography and performance, which includes expressive cameos from Michael Gambon, Michael Gough, Jeffrey Jones, and Iain McDiarmid. Yet despite all these subtleties, it's also his best action movie: the swordplay betters anything from his earlier work, while the windmill escape and subsequent coach chase is truly breathtaking in choreography and execution. If you find a cheesy grin on your face for most of the film, you've "got" it. If not, see Hammer's Dracula at once! - Paul Tonks
- 1972 Russian
Released in 1972, Solaris is Andrei Tarkovsky's third feature and his most far-reaching examination of human perceptions and failings. It's often compared to Kubrick's 2001, but although both bring a metaphysical dimension to bear on space exploration, Solaris has a claustrophobic intensity which grips the attention over spans of typically Tarkovskian stasis. Donatas Banionis is sympathetic as the cosmonaut sent to investigate disappearances on the space station orbiting the planet Solaris, only to be confronted by his past in the guise of his dead wife, magnetically portrayed by Natalya Bondarchuk. The ending is either a revelation or a conceit, depending on your viewpoint. - Richard Whitehouse
Solaris is a remake of Andrei Tarkovsky's Russian film (often called the "Soviet 2001"), itself an adaptation of the Polish Stanislaw Lem's novel, and is anything but a typical American science fiction film. Psychologist Chris Kelvin (George Clooney, playing it very cool and introverted) is sent to a space station orbiting the perhaps-living planet Solaris to investigate a loss of communication with Earth, and finds only two survivors: a free-associating neurotic (Jeremy Davies) and a control freak (Viola Davis), along with several corpses and evidence of recent violence. Kelvin is shocked to wake up next to his wife Rhea (Natascha McElhone), who committed suicide back on Earth years ago, and treats her like a body-snatched alien, disposing of the creature by jettisoning her into space. But she comes back again, and Kelvin realises she isn't a soulless monster out to get him but a genuinely self-aware construct built from his own memories. Though warned against getting involved, Kelvin tries to maintain a relationship with the non-human woman, hoping to avoid this time the mistakes he made that led to Rhea's death. Steven Soderbergh, the most versatile and unpredictable director in Hollywood, stages a few big space moments, fascinated by the red and stringy ball of Solaris itself, but mostly sticks to interiors that have a Bergman-esque austerity, with Clooney and McElhone inhabiting their own room and going through deep emotional traumas while avoiding actual outbursts. It may be too interior a film for mainstream audiences, though at a clipped hour-and-a-half it isn't as hard going for non-devotees as the three-hour Tarkovsky version, but there is a lot of real meat here none the less. - Kim Newman
|Source Code
In his second movie Source Code--a looping, hall-of-mirrors story about a downed helicopter pilot who must revisit the same passage of time--Duncan Jones restores some of the virtues of traditional sci-fi, in which technology is just a framework for human drama and where the efficient sketching of smart ideas has as much impact as any amount of CGI. Such is the case with Source Code, in which Colter Stevens (Jake Gyllenhaal) is suspended in a digital limbo (the 'source code') by his military bosses, who force him to revisit the same eight minutes on board a Chicago-bound commuter train--right before it explodes. With each attempt to ID the bomber--a satisfying picture puzzle of close detail and shifting perspectives--Colter's growing fondness for the doomed commuters divides his loyalties, drawing him into a battle with the Fates themselves. With shades of 12 Monkeys, Avatar and Groundhog Day, Source Code is also the up-tempo cousin of Jones' debut feature Moon, in which a lonely worker's right to mortality is also violated by a futuristic organization who, in Moon's case, would like to cut an ethical corner (and the cost of lunar labour). In the space of these two movies, Duncan Jones has proved he's auteur material and, like the recurring eight-minute sequence at its heart, Source Code feels like the explosion of an exciting new talent--right before it explodes. - Leo Batchelor
Spaced is a sitcom like no other. The premise is simple enough: Daisy (Jessica Stevenson) and Tim (Simon Pegg) are out of luck and love, so pretend to be a couple in order to rent a flat together. Downstairs neighbour and eccentric painter Brian suspects someone's fibbing, and almost blows their cover with their lecherous lush of a landlady, Marsha. Fortunately he soon falls for Daisy's health-freak friend Twist, while Daisy herself goes ga-ga for pet dog Colin. Tim remains happily platonic with lifemate Mike; a sweet-at-heart guns 'n' ammo obsessive. The series is chock-full of pop culture references. In fact, each episode is themed after at least one movie, with nods to The Shining and Close Encounters of the Third Kind proving especially hilarious. Hardly five minutes goes by without a Star Wars reference, and every second of screen time from Bill Bailey as owner of the comic shop where Tim works is comedic gold. The look of the series is its other outstanding element, with slam-zooms, dizzying montages, and inspired lighting effects (often paying homage to the Evil Dead movies). It's an affectionate fantasy on the life of the twenty-something that's uncomfortably close to the truth.
The second series finds the gang at 23 Meteor Street a little older, but definitely none the wiser. Tim's career is hampered by severe hang-ups over The Phantom Menace. Daisy's career is just plain non-existent. There is still a spark of sexual tension between them, but it's overshadowed by Brian and Twist getting it on. Propelling the seven-episode series arc is the threat of Marsha discovering that none of the relationships are what they seem, Mike's increasing jealousy and a new love interest for Tim. That's the basis for a never-ending stream of in-jokes and references that easily match the quality of the first series. Tim has a Return of the Jedi flashback, then déjà vu in reliving the end of The Empire Strikes Back. There are spoofs of One Flew Over the Cuckoo's Nest, Robocop, The Sixth Sense and comedy rival The Royle Family. There are guest spots from Bill Bailey, Peter (voice of Darth Maul) Serafinowicz and The League of Gentlemen's Mark Gatiss and Reece Shearsmith. Every episode is packed with highlights, but this series' guaranteed geek pant-wetting moments have to be the mock gun battles, slagging off Babylon 5 and learning that "The second rule of Robot Club is: no smoking." Jessica Stevenson won a British Comedy Award for this year. It deserved a whole lot more. --Paul Tonks
There's a kind of perverse marketing genius at work in this cheesy sci-fi hit from 1995 in which scientists create a half-human, half-alien woman named Sil (Natasha Henstridge) who's capable of morphing from a slimy, tentacled creature into a blonde babe with the body of a Playboy centrefold. This makes it easy for Sil to lure gullible guys who are only too willing to indulge her voracious mating urge, realising too late that sex with Sil is anything but safe. As the body count rises, a handpicked team of specialists tracks the alien's killing spree, but their diverse expertise is barely a match for the ever-morphing Sil. Borrowing elements of the Alien movies (including bizarre alien designs by Swedish artist HR Giger) and spicing them up with some tantalising nudity, Species is a wet dream for creature-feature fans--kind of like watching a sci-fi vampire fantasy while browsing through the Sports Illustrated swimsuit issue. - Jeff Shannon, Amazon.com
From yet another derivative science fiction novel by Michael Crichton comes this equally derivative and flaccid movie, in which three top Hollywood stars struggle to squeeze tension and excitement out of material that doesn't match their talents. You're supposed to find awe and mystery in Crichton's story about a team of scientists and scholars who discover a 300-year-old alien spacecraft deep on the ocean floor, but mostly you feel that this is all much ado about nothing. The exploration team consists of a psychologist (Dustin Hoffman), mathematician (Samuel L. Jackson), biochemist (Sharon Stone), and an astrophysicist (Liev Schreiber), and when they enter the alien ship they discover a mysterious sphere inside. What they don't know is that the sphere has the power to manipulate their thoughts and perceptions, and before long the scientists' undersea habitat is a veritable haunted house of frightening visions and creeping paranoia. Who can be trusted? What is the sphere's purpose, and why is it on the ocean floor? Sphere makes some attempt to answer these questions, but the film is a mess, and it leads to one of the most anticlimactic endings of any science fiction film ever made. There are moments of high intensity and psychological suspense, and the stellar cast works hard to boost the talky screenplay. But it's clear that this was a hurried production (Hoffman and director Barry Levinson made Wag the Dog during an extended production delay), and as a result Sphere looks and feels like a film that wasn't quite ready for the cameras. Though it's by no means a waste of time, it's undeniably disappointing. - Jeff Shannon
Internal madness is hypnotically externalized in David Cronenberg's Spider, a disturbing portrait of schizophrenia. Adapted by Patrick McGrath from his celebrated novel, this no-frills production begins when "Spider" Cleg (Ralph Fiennes, in a daring, nearly nonverbal role) returns to his childhood neighbourhood in London's dreary East End, where a traumatic event from his past percolates to the surface of his still-erratic consciousness. Released from a mental institution and left to fend for himself, he pursues elusive memories while staying in a halfway house run by a stern matron (Lynn Redgrave), unable to distinguish between past, present, and psychological fabrication. The distorting influence of Spider's mind is directly reflected in Cronenberg's cunning visual strategy, presenting a shifting "reality" that's deliberately untrustworthy, until the veracity of nearly every scene is called into question. With an impressive dual-role performance by Miranda Richardson, Spider falls prey to its own lugubrious rhythms, but like the acclaimed 1995 indie film Clean, Shaven, it's a compelling glimpse of mental illness, seen from the inside out. - Jeff Shannon
Marvel Comics fans have been waiting for this big-screen Spider-Man since the character made his print debut in 1962, which attaches impossible expectations to a film that rates as a solid success without breaking out of the spandex ghetto in the way that Batman Returns or X-Men did. Tobey Maguire is ideally cast as speccy Peter Parker, a high school swot with personal problems. The suit and effects take over when he gets bitten by a genetically engineered (i.e., no longer radioactive) spider and transforms into a web-swinging superhero who finds that these super-powers don't really help him get close to the girl next door (Kirsten Dunst) or protect his elderly guardian (Cliff Robertson) from random violence. The villain of the peace is Peter's best friend's industrialist father (Willem Dafoe) who has dosed himself on an experimental serum which makes him go all Jekyll-and-Hyde and emerge as the cackling Green Goblin, who soon gets a grudge against Spider-Man. Sam Raimi gives it all a bright, airy, kinetic feel, with wonderful aerial stuff as Spider-Man escapes from his troubles by swinging between skyscrapers, and the rethink of Stan Lee and Steve Ditko's origin story is managed with a canny mix of faithfulness (JK Simmons' as the crass editor JJ Jameson is the image of the comic character) and send-up (after a big introduction, Spider-Man finally appears in a really rubbish first attempt at a spider costume). Maguire and the impossibly sweet Dunst make it work as a hesitant teen romance, but somehow the second half, which brings on the villain to give the hero someone to fight, is only exciting when it wants to be affecting too. --Kim Newman On the DVD: Spider-Man's two-disc offering is nothing out of the ordinary, but fans will find some gems here including Stan Lee's thoughts, a gallery of comic cover art and profiles on the baddies. The two commentaries (cast and crew, and Special Effects) both have long periods with pauses, but the special effects guys are full of insight. The DVD-ROM section offers some of the more exciting features, including three comics transferred onto your computer, page by page, although be aware that the "Film to Comic" comparison is not for the original but for the new comic of the film. As you would expect from a blockbuster superhero film, the sound and vision are immaculate. - Nikki Disney
- Japanese Anime
The highest grossing film in Japanese box-office history, Hayao Miyazaki's Spirited Away (Sen To Chihiro Kamikakushi) is a dazzling film that reasserts the power of drawn animation to create fantasy worlds. Like Dorothy in The Wizard of Oz and Lewis Carroll's Alice, Chihiro plunges into an alternate reality. On the way to their new home, the petulant adolescent and her parents find what they think is a deserted amusement park. Her parents stuff themselves until they turn into pigs, and Chihiro discovers they're trapped in a resort for traditional Japanese gods and spirits. An oddly familiar boy named Haku instructs Chihiro to request a job from Yubaba, the greedy witch who rules the spa. As she works, Chihiro's untapped qualities keep her from being corrupted by the greed that pervades Yubaba's mini-empire. In a series of fantastic adventures, she purges a river god suffering from human pollution, rescues the mysterious No-Face, and befriends Yubaba's kindly twin, Zeniba. The resolve, bravery and love Chihiro discovers within herself enable her to aid Haku and save her parents. The result is a moving and magical journey, told with consummate skill by one of the masters of contemporary animation. - Charles Solomon
Clive and Elsa are the best scientists in their field. Splicing together the genes of several animals they have managed to bring into existence a new kind of creature, the protein of which could be highly profitable. But experimenting for a large corporate firm doesn't satisfy their scientific curiosity. After secretly adding human DNA into their formula Clive and Elsa soon realise they may have made a mistake, a big mistake. A mistake that seems to be aging, growing and transforming at an incredible rate. An uncontrollable mistake that's about to break loose and rip their world apart into tiny pieces. - Amazon
A young boy (Connor Paolo, Gossip Girl) is about to learn how cruel the world can become. Martin was a normal teenager before the country collapsed in an empty pit of disaster and a vampire epidemic swept across the nation's abandoned towns and cities. It is up to Mister (Nick Damici, Mulberry Street, World Trade Center), a death dealing, rogue vampire hunter, to get Martin to safety. Armed with a trunk full of wooden stakes and a desperate will to stay alive, Mister and Martin make their way through locked down towns, recruiting fellow travelers along the way. Among them are a devout nun (Kelly McGillis, The Accused, Top Gun) and a pregnant teen (Danielle Harris, Halloween, Halloween 2)… As with his hit, MULBERRY STREET, Jim Mickle creates a dark and terrifying world, although this time it is fully stocked with the most vicious vampires in recent film history.
STAKE LAND is a gritty, post-apocalyptic road movie with teeth! - Amazon
|Stephen King's The Stand
A deadly virus is unleashed by a military lab, wiping out almost the entire population of Earth. A few terrified individuals set out on a desperate race to find other survivors...
A gloriously over-the-top treat, Paul Verhoeven's Starship Troopers takes the militaristic moralising of Robert Heinlein's pulp classic and sets about undermining it mercilessly. Johnny Rico (Casper Van Dien) desperately wants to join the Mobile Infantry and kill some Earth-threatening alien bugs. He also desperately wants Carmen (Denise Richards), but only gets to fulfil one ambition in the second of Verhoeven's futuristic satires (also cowritten with his RoboCop scriptwriter Ed Neumeier). Set in a fascistic future where kids must do military service to qualify as citizens, own property or even have babies, the film's dark Vietnam and Nazi-era parallels are all the more disturbing given its deceptively sunny Beverly Hills 90210 teenage cast (though scenery-chewing veteran Michael Ironside steals the movie as tough-talking Lt Rasczak). The CGI arachnids are among the most convincing and dangerous-looking creatures ever seen on screen, and with the movie clocking up the highest number of blanks ever fired on a film set, it's also pretty loud! Verhoeven went on to be Executive Producer of the Roughnecks: The Starship Troopers Chronicles animated TV series a couple of years later. On the DVD: Starship Troopers in this DVD incarnation can now be played continuously on one side of the disc (the original Region 2 release version was that crime against the DVD format, a "flipper"). You'll also feel really spoiled by the extras here: five deleted scenes (approximately six minutes) pad out Carmen's love triangle problems. There are impressive screen tests for Denise Richards and Casper Van Dien (three-and-a-half minutes). An eight-minute featurette zips by with key interviews and fact flinging. And a real treat is three scene developments with layers of FX work explained by Verhoeven. But what makes this DVD essential is the director's enthusiastic commentary alongside screenwriter Ed Neumeier: dissing astrology, making a stand for feminist issues, saying how he went nude to placate the actors for their shower scene, and drooling with praise for his FX team, Verhoeven makes a fascinating statement that "war makes fascists of us all". After a studio disclaimer, and beginning with his reaction to the film's critique in Time Magazine, this is no-holds-barred fun. - Paul Tonks
Allowing for all the low-budget shortcomings that plague any straight-to-video production, Starship Troopers 2: Hero of the Federation serves up 92 minutes of passable SF action. Parlaying his veteran status as an animator, special-effects wizard, and stalwart survivor of the CGI revolution, Phil Tippett (with returning screenwriter Ed Neumeier) makes a woefully uninspired directorial debut with this makeshift sequel to Paul Verhoeven's 1997 blockbuster, retaining the jarhead militarism of Robert Heinlein's original novel while serving up more bugs, an all-new cast of attractive young stars and all-too-familiar plot elements borrowed from a dozen better movies. "Bigger is better" is out of the question under such meagre budgetary circumstances, so Tippett and Neumeier compensate with gruesome bug fights and gross-out effects at regular intervals, some standard-issue nudity and escalating paranoia (echoing Carpenter's The Thing) when a new breed of bugs use human hosts (à la The Hidden) to overtake a stranded platoon of Federation soldiers on a bug-infested planet. Relying on murky confinement to hide nondescript sets, Starship Troopers 2 has three engaging leads in its favour: US TV regular Richard Burgi is solidly cast as the titular hero (he's the military equivalent of Pitch Black's Riddick); Colleen Porch is engaging as the most sensible Federation survivor; and screen veteran Ed Lauter makes the most of his salty role as a battle-hardened general. Unfortunately, they're adrift in a knock-off sequel (shot on high-def digital video) that could never do justice to its energetic predecessor. - Jeff Shannon
Wars: The Phantom Menace
"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menace as he steps off a spaceship and into the most anticipated cinematic event ... well, ever. He might as well be speaking for the legions of fans of the original episodes in the Star Wars saga who can't help but secretly ask themselves: sure, this is Star Wars, but it is my Star Wars? The original elevated moviegoers' expectations so high that it would have been impossible for any subsequent film to meet them. And as with all the Star Wars movies, The Phantom Menace features inexplicable plot twists, a fistful of loose threads and some cheek-chewing dialogue. Han Solo's swagger is sorely missed, as is the pervading menace of heavy-breathing Darth Vader. There is still way too much quasi-mystical mumbo jumbo and some of what was fresh about Star Wars 22 years earlier feels formulaic. Yet there's much to admire. The special effects are stupendous;; three worlds are populated with a mélange of creatures, flora and horizons rendered in absolute detail. The action and battle scenes are breathtaking in their complexity. And one particular sequence of the film-the adrenaline-infused pod race through the Tatooine desert--makes the chariot race in Ben-Hur look like a Sunday stroll through the park. Among the host of new characters, there are a few familiar walk-ons. We witness the first meeting between R2-D2 and C-3PO, Jabba the Hutt looks younger and slimmer (but not young and slim) and Yoda is as crabby as ever. Natalie Portman's stately Queen Amidala sports hairdos that make Princess Leia look dowdy and wields a mean laser. We never bond with Qui-Gon and Obi-Wan's day is yet to come. Jar Jar Binks, a cross between a Muppet, a frog and a hippie, provides many of the movie's lighter moments, while Sith Lord Darth Maul is a formidable force. Baby-faced Anakin Skywalker looks too young and innocent to command the powers of the Force or wield a lightsaber (much less transmute into the future Darth Vader), but his boyish exuberance wins over sceptics. Near the end of the movie, Palpatine, the new leader of the Republic, may be speaking for fans eagerly awaiting Episode II when he pats young Anakin on the head and says, "We will watch your career with great interest." Indeed! - Tod Nelson
Wars: Attack Of The Clones
The most densely plotted instalment of the saga so far, Attack of the Clones is a tale of both Machiavellian political drama and doomed romance;; it's epic war film and silly comic-book fantasy combined, as teenage Anakin Skywalker (Hayden Christensen) chafes at the restrictions imposed by his mentor Obi-Wan Kenobi (Ewan McGregor) and falls in love with Padme Amidala (Natalie Portman). Renegade Jedi Count Dooku (Christopher Lee) is leading a breakaway federation of disgruntled systems;; while the insidious influence of Darth Sidious is felt rather than seen as his invisible hand guides apparently unrelated events, from Jar Jar's unwitting instigation of a disastrous Senate decision to bounty hunter Jango Fett's revelatory role at the centre of the conspiracy. Along the way the story has fun with the conventions of Chandleresque detective fiction as Obi-Wan explores the seedier side of Coruscant, and incorporates the noble warrior ethos of Crouching Tiger, Hidden Dragon in its portrayal of the Jedi order. The portentous tone is lightened by tongue-in-cheek self-referential dialogue and the antics of robotic clowns R2D2 and C3PO. (One niggle for music fans, though, is the cavalier cut-and-paste approach to John Williams's music score.) Like the Empire Strikes Back, Clones is the bridging film of the trilogy and thus ends on an equivocally bittersweet note. On the DVD: Attack of the Clones is an all-digital film, and so looks suitably superb in this anamorphic widescreen transfer, accompanied by a THX encoded Dolby 5.1 soundtrack. Anyone who owns The Phantom Menace two-disc set will know what to expect from the special features: here's another group commentary led by George Lucas, two lengthy documentaries on the digital effects ("From Puppets to Pixels" and "The Previsualisation of Episode II") plus several other featurettes and Web documentaries, notably "Films Are Not Released, They Escape", a look at the sound design. There's also a fun trailer for the R2-D2 mockumentary "Beneath the Dome", trailers, photo galleries and more to satisfy any Star Wars fan. - Mark Walker
Gabriel Byrne plays Father Kiernan, a young Jesuit priest whose degree in chemistry makes him a sort of priest/detective as he investigates weeping Marys and the like around the world. Meanwhile, Frankie (Patricia Arquette), a rave-generation Pittsburgher, is afflicted with the stigmata--holes that appear in her wrists, resembling the wounds of Christ. The young woman's symptoms filter back to the Vatican and Father Kiernan is assigned to the case. The priest is puzzled by Frankie's atheism;; usually the stigmata only appear on the devout (hence the age-old controversy of miracles vs. hysteria). Other manifestations appear on Frankie, and the priest's cardinal (Jonathan Pryce) is brought in, leading to political manoeuvring within the Church hierarchy. The film owes a large and obvious debt to The Exorcist (at one point, Frankie's bed scoots across the room and she levitates into a crucifix position) but to term it an Exorcist rip-off would be to short-change Stigmata. The premise and screenplay are more cerebral than in the l973 film, and the source of the phenomenon is coming from a completely different place. Unfortunately, amid Stigmata's high-octane editing and slick technique, the chills of The Exorcist aren't there, giving the movie a sort of identity crisis: horror movie or intellectual thriller? Several elements of the film challenge basic tenets of the Catholic faith, hence the brief furore that erupted at the time of the film's release;; if nothing else, the internal workings of the Church are shown in a very unflattering light indeed. Byrne excels as the sceptical priest, as does Arquette as the tortured young woman. All told, Stigmata is a rather uneven effort but one with a thought-provoking combination of theology and thrills served up in a thoroughly modern, stylish package. Fans of TV's Ally McBeal will recognise Portia De Rossi in a supporting role. - Jerry Renshaw
|Strange Days
Set in the year 1999 during the last days of the old millennium, the movie tells the story of Lenny Nero, an ex-cop who now deals with data-discs containing recorded memories and emotions. One day he receives a disc which contains the memories of a murderer killing a prostitute. Lenny investigates and is pulled deeper and deeper in a whirl of blackmail, murder and rape. Will he survive and solve the case? - Harald Mayr
- Live
Well what can I say? Suede are just as excellent now as they have been from day one, and I'm so glad they decided to re-issue Introducing the Band on DVD. I have had the video from the moment it hit the shops all those years ago, but finding it on DVD was just a treat. Obviously, the picture etc. is a much better quality than VHS and Suede are just simply mindblowing. Packed with many great Dog Man Star hits (DMS album is rumoured to be many a Suede fan's favourite Suede album) as well as out of this world B-sides, this DVD is an absolute MUST for any die hard Suede fan. I would, however, like to see Love & Poison also brought out on this format too.... That would complete the set of Suede's visual releases just perfectly. What I really like also is the fact that you have a great little insight to the content of Lost In TV in the extras section, as well as the photoshoot, Suede assing around (Simon's electric chair bit - quite amusing!) and Suede in Japan. - N Williams
Lost In TV is a complete collection of Suede's music videos, arranged in chronological order. It reveals a band that has fallen repeatedly in and out of love with the video medium over the course of four albums. It begins with a low-budget performance clip for their first single, "The Drowners", in which all Suede's members are clearly, and rather endearingly, putting on poses they've been rehearsing and imagining for years. And it ends with "Can't Get Enough", which they couldn't rouse themselves to turn up for, instead allowing the song to soundtrack a short, though undeniably amusing, film about revenge. In between the quality varies with Suede's enthusiasm. Some of the videos here are every bit as awful as the band think, especially the altogether bewildering "Stay Together". Others they should give themselves more credit for "The Wild Ones", for example, retains a haunting quality that was worth any amount of plodding around a freezing Dartmoor. On the DVD: Lost in TV is a comprehensive lesson in how it should be done, exploring all the possibilities of this new technology, rather than taking the usual approach of releasing what is basically a video, adding some desultory, pointless interview footage and charging 10 quid extra for it. Extra features are: a collection of live performances, television appearances and sundry recordings from around the world, among them the version of Elvis Costello's "Shipbuilding" Suede donated to the "War Child" benefit album;; a fine new song, "Simon", exclusive to the DVD;; a karaoke opportunity featuring the videos with subtitled words but no vocals;; and, best of all, the chance to watch all the videos with Suede themselves providing commentary as they go along. Given that Suede seem to regard their videos with much the same horrified embarrassment as viewing an old school photograph, this is richly entertaining, though best avoided by those who prefer their artists to maintain their facades or who are overly sensitive to bad language. Sound options include surround and Dolby Digital. -
Andrew Mueller
|Suede - Royal Albert Hall.
24 October 2010
A live reunion gig organised for the teenage cancer trust charity. Predictably weaker than earlier live material but instrumental in reforming the band for a new album & tour.
You can never accuse director Danny Boyle of lacking ambition. Sunshine sees one of Britain's most successful directors switching genre once more, as he tackles this gripping science fiction flick about a quest to re-ignite the dying sun. And he nails it, too, adding another plus to a CV that's already covered a kids' film (Millions), a big Hollywood blockbuster (The Beach), horror (28 Days Later), and a pair of British classics (Trainspotting and Shallow Grave). Bursting out of the gate at a terrific pace, Sunshine then doesn't take its foot off the accelerator for much of its near-two hour running time. Set around the crew of the Icarus II who find themselves on a life-saving mission, things soon start going awry, and while you'll find no plot spoilers here, Boyle proves a dab hand at ratcheting up tension on the way to the big finale. If anything, it's the finale to Sunshine that does let the side down, not quite living up to the standard of what preceded it. But such is the strength of the ride to that point that it's hard to complain. Especially when the cast, led by the always-magnetic Cillian Murphy, put in believable performances and get heavily into the spirit of the film. Topped off with cracking effects that belie its modest budget, Sunshine is a real treat, not just for sci-fi fans, but for anyone who likes a strong, tense, thrilling night in front of a movie. - Jon Foster
|Super 8
Steven Spielberg and J.J. Abrams join forces in this extraordinary tale of youth, mystery and adventure. Super 8 tells the story of six friends who accidentally film a train wreck only to discover that something unimaginable escaped during the crash. Now, the only thing more mysterious than what it is… is what it wants. - DVD Synopsis
The makers of Supernova are apparently counting on the fact that generational turnover renders old formulas fresh again for new audiences. This is the only explanation for a sci-fi thriller that could charitably be called a "homage" to Ridley Scott's trend setting Alien. A medical rescue ship responds to a distress call from a mining colony and finds only one survivor: a strange young man (Peter Facinelli), who comes aboard carrying an even stranger alien artefact. But the plot of this film, which was directed and then disowned by Walter Hill, grows confused as it tries to explain the sinister force that will lead to a star transforming to supernova status, causing a universe-shattering explosion. Some nice sexual tension between James Spader (as the recovering drug-addict co-pilot) and Angela Bassett (as the ship's doctor). Notable mostly, however, for the eerie resemblance, both physical and vocal, between Facinelli and Tom Cruise. - Marshall Fine, Amazon.com


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Everyone should have a stash of these kooky fabric gift bags in their cupboard. Each gift bag has a drawstring closure, enabling you to conceal your gift, along with a re-usable gift tag pouch for your message.
The Small Gift Bag is suitable for gifts such as paperback novel, CD's(up to 8), smartphone, kindle and e-books.


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The park contains almost 200 lakes and ponds, ranging in size from about 35 acres down to less than one-tenth of an acre. The majority of these lakes and ponds are remnants of residences and farms that existed before the designation of the park. Most of these small waterbodies used to be wetlands or springs which were excavated and dammed to create open water for watering livestock, recreational activities or aesthetics.
Lakes and ponds differ from wetlands in that they don't usually contain much vegetation, and consequently don't support the same diversity of wildlife. Typical residents of the recreation area's lakes and ponds are warm water fish largemouth bass and sunfish, green and pickerel frogs, painted turtles, and dragonflies, and damselflies.
Many of the recreation area's ponds are favorite fishing spots for both park visitors and local residents. These waterbodies are also important foraging areas for water birds such as great blue herons, mallards, black ducks, and kingfishers. Some of the larger lakes serve as rest stops for migratory waterfowl. In addition to the more common ducks and geese, it is possible to spot some of the less common species such as pied-billed grebe and even the occasional loon.
Pink lady's slipper (cypripedium acaule) or moccasin flower, a member of the orchid family, can also be found around Hidden Lake, along with Jack-in-the-pulpit. Please remember that all wildflowers within Delaware Water Gap National Recreation Area are protected by federal law and may not be picked or dug up for transplanting.
For more information on how Delaware Water Gap National Recreation Area monitors places like Hidden Lake for clean water click here .


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Buying a vacation home is an important goal and milestone for many Americans who want to make the most of their holidays and plan for retirement.
Vacation properties neednt be lavish or expensive to still be a perfect way to enjoy the winter months at your home away from home. Furthermore, owning a vacation home can prove to be an excellent financial asset that increases in value over time, as more people seek to scoop up properties in your area.
In todays post, Im going to talk about some of the most important things to look for in a vacation home to help you kick off your search. Whether youre months away from buying a home or the idea of a second home is still a far-off dream, this article is for you.
The most important aspect of any vacation home is that its located in the perfect place for you to enjoy. Whether thats a remote getaway in the mountains or a beachfront property in Florida, your plans for the home should be your number one priority.
If its your ultimate goal to retire and move into your vacation home someday, consider what it would be like living in that location full time. Is it close to amenities like grocery stores? Or, if youre moving to a coastal area, will the traffic drive you crazy?
On the other hand, if you dont intend to ever move into your vacation home full-time, it might be wiser to choose a location that will suit your familys vacation needs while remaining a great asset to sell down the road.
Some homeowners have a dream of buying a vacation home in a place theyve always wanted to visit or have simply heard is a great place to own a vacation home in. The problem with this is that you might find, once you arrive, that you dont want to spend several weeks or months there after all.
It might get too crowded during vacation season or you might decide that there isnt enough to do that will keep you busy for extended stays.
To prevent buyers remorse, spend a week or two in your planned vacation home destination to make sure it really is the best spot for you.
Many Americans purchase a vacation home with the intention of renting it out while they arent using it to earn extra income. While this can be a great way to generate income, you will need to be prepared for becoming a landlord.
Look up local rental laws in the area to make sure you understand your responsibilities. Furthermore, understand that renting out a property part-time takes work; youll interact with prospective renters, filter out those that you think arent suited for your home, and handle problems with the property as they arrive.
If you keep these three things in mind, you should be able to find the perfect vacation home for you and your family.


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For Sale
New York, NY, USA
20 East End Avenue, 7C
4 bed
5 bath
Well renowned architect, Robert A. M. Stern, envisioned 20 East End as his signature building – a bespoke property emanating luxury and elegance. One-of-a-kind residence 7C, a sweeping 4 bedroom and 4 and one half bathroom duplex, is certainly testimony to that vision. Offering North, South and West exposures, 7C showcases timeless elegance in its grandiose floor plan. Spanning approximately 4,000 interior square feet, and approximately 1,465 exterior square feet, this palatial residence features 11 foot ceilings, expansive casement windows, custom moldings, 8 foot doorways and Appalachian oak herringbone flooring with a walnut stain. The lower floor includes a grand living room, formal dining room that leads to the immense terrace with a stunning gas burning fireplace, eat-in-kitchen and 4th bedroom. The chef's kitchen boasts custom tailored shaker inspired millwork cabinetry, natural Brazilian quartzite countertops, Lefroy Brooks hardware, Gaggenau appliances, and more than ample storage space. The second level is home to three of the four bedrooms with ensuite bathrooms as well as a library tucked away from the entertaining space. A stunning master bathroom, fully clad in white Caldia Classico marble, features a cast iron tub, Toto water closet, a RAMSA custom designed double sink vanity and Wi Fi enabled heated flooring. This spectacular residence offers a rare opportunity to live in one of the finest condominiums in Manhattan.


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Picks and Pans Main: Tube
OVER THE CENTURIES, MANKIND HAS developed many cruel and unusual punishments: the rack, the Iron Maiden, the Super Bowl halftime show. But is there anything more sadistic than the long-winded documentaries that flood the airwaves at this time of year? Ever since Ken Burns won all those awards with his masterpieces about baseball and the Civil War, well-meaning TV programmers seem determined to drive the country completely bonkers with epic documentaries about subjects we already know by heart, or don't really want to know.
Last month PBS checked in with America on Wheels, three hour-long episodes about the importance of the automobile in American life. Then TBS ran America's Music: The Roots of Country, three two-hour installments about the importance of country music in American life. Turner Classic Movies continued the all-out assault with Cinema Europe: The Other Hollywood, a five-part, six-hour series on European cinema. In each there was lots of vintage footage, a regiment of know-it-all talking heads and a plodding voice-over by a star who hasn't had a hit lately (Kris Kristofferson, Hal Holbrook, Kenneth Branagh).
Were the series in any way entertaining? Sure, it was fun to see old shots of a plump young Greta Garbo before she went on her all-spinach diet, but how long can you stay interested in post-World War I Danish art films? And yes, there is something oddly fascinating about watching ancient public-service messages warning about reckless driving—James Dean is the star of the ad—but most of Wheels was devoted to experts telling us how the car revolutionized American society. Folks, this is not hot news.
Watching these documentaries was like being back in high school and having to sit through those USDA films about Our Friend, the Soy Bean. How could these shows be improved? Hire a narrator who sounds vaguely interested in the subject, unlike Branagh. Hire a narrator whose voice you can listen to for five straight nights, unlike Branagh. The best suggestion? Run documentaries on a single night and don't include every snip of grainy footage ever shot.


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My oldest daughter is back with another video! This one will give you SUPER helpful information on how to find safe drinking water when you're out in the wilderness.
And stay tuned for a special guest appearance about a minute and a half in–E's little sister who was NOT supposed to be in the shot! Sisters! Ugh!
If you like it, please let her know in the comments! Have a great weekend!


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by Sheryl Soh on Friday, August 25, 2017
- Section
- Fringe & Geekery
- Session type
- Workshop
- Technical level
- Beginner
To learn guided meditation techniques so that you can start your own practice at home! I was wondering if TGPers would like to begin each day with a guided meditation session before the conference programme opens, so we start our day energised and focused.
A simple, guided meditation session based on techniques such as breath awareness meditation, color meditation, loving-kindness meditation.
An open mind and open heart
Speaker bio
Sheryl is a certified yoga instructor with the Yoga Alliance USA. She lived in India for two years and trained at Ayuryoga-EcoAshram in Mysuru, India. She has taught meditation and yoga in Singapore, Indonesia and Thailand, and now hoping to bring her practice back to India.


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Outsourced Marketing
Outsourced Marketing Solutions For Industry
AMI have a proven track record when it comes to helping engineering and manufacturing companies gain more business online. At a fraction of the cost of employing a marketing person, you can bolt on an entire, experienced multi-skilled industrial marketing department.
We have many customers who use us as their dedicated marketing partner. They in-turn receive a team of highly competent website designers, content writers, SEO specialists, Google Adword managers, marketing consultants, filming personnel, creative and support staff whenever required.
It's all about delivering results for our customers and establishing long-term relationships built on trust and dependability. Being a marketing company that is solely focused on companies within industry, means that we are not restricted by conventional thinking.
I'm sure by now you would have noticed that we have extensive in-house services, giving our customers a one-stop solution for all their digital marketing needs. Another advantage of working with us is 'continuity', which enables our customer's marketing and branding campaigns to be consistent, whether its websites, video, print or online marketing, we do it all under one reliable roof.
Related Services


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YogaJP (Yoga Journey Productions) was founded in 2003 under the guiding principle of producing yoga videos that are accessible to all populations, no matter what physical condition, age or life stage a person may be in. We believe Yoga is a healing modality that everyone can benefit from, but found yoga video and DVD choices limited for people with no prior experience or limited physical abilities.
Where It All Began
Founded by Mary Cavanaugh and Sherry Zak Morris, both registered yoga teachers specializing in Gentle and Senior Yoga, they shared a common passion to spread the healing and encouraging message of yoga to untouched populations.
Wanting to make a little extra money in her retirement years, Octogenarian Mary Cavanaugh prompted our first DVD production. Little did Mary know that YogaJP's flagship Gentle Yoga for Seniors Video Series would achieve worldwide exposure to tens of thousands of seniors and physically challenged individuals, and be positively reviewed by Yoga Journal magazine, the premiere Yoga magazine.
After 25 years in the high tech business, Sherry Zak Morris, felt the ravages of stress on her body and her spirit. A final corporate lay-off prompted her to pursue the passion that helped her gain back her health and stamina – YOGA! Sherry is the Executive Producer and CEO of YogaJP, and Co-Founder of the Yoga Vista Academy, a school for the Advanced Training of Gentle, Senior and Chair Yoga Teachers.
Bringing Our Messages to a Wider Audience
The success of the Gentle Yoga Video Series created an opportunity to expand into a broader audience that was not being reached. With the popularity of YouTube and online media, YogaJP found another way to bring yoga, health and wellness messages to even more people – right on their desktops!
Focusing on busy, stressed out people working at their desks, Yoga Journey Productions produces hundreds of short, educational videos for Take5Moment with experts from around the world who share strategies for dealing with work/life stress, injury prevention, rehabilitation, and mind/body connections, etc. A collection of these Health and Wellness Videos, as well as our Yoga DVDs are available through our online store.
And Beyond – Gentle, Senior & Chair Yoga Teacher Training
As more people come to search and find the healing powers of yoga and experience the self-empowerment of taking control of their own health – YogaJP continues to deliver the tools and information to educate those who are seeking. We work with wellness leaders and visionary companies to educate, motivate and encourage people to live their lives with energy and good health. For Yoga Teachers, the "light bearers" of hope and healing, we offer Yoga Teacher Training Materials, Aids and Workshops to advance the mission of bringing good health to all via the Yoga Vista Academy.
Come join us on our journey to Good Health, Vitality and Healing!


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This item is currently out of stock.
Rock around your Christmas-themed décor with this wonderful multi-colored solar LED light set! Featuring dazzling hues in a diamond textured design, the set casts the outside of your home in delicate light through solar powered technology. These no-fuss lights automatically turn on when the sun goes down, bringing festive illumination to your front porch, backyard or yard ornaments.
General Disclaimer: We aim to provide accurate product information, however some information presented is provided by a 3rd party and is subject to change.See our disclaimer.
- 100 - Multi-color sensor activated LED lights
- No extension cords or outlets needed
- Charges even on a cloudy day
- Automatically lights at dusk for outdoor decoration
- Model number: 508-1715M
- Lighted length: 33'
- Total length: 38'
- Material: Plastic, electrical, LED
- For outdoor use only
Return Policy
If you wish to return your online order, please visit your order history to start the return process. If you have any issues, contact our Customer Care Support Center at 1-866-BIG-LOTS (244-5687) for assistance with making your return. Please be prepared to provide your order number and email address, or your rewards number, so that we may better assist you.
For return terms, see our full Returns Policy.
For return terms, see our full Returns Policy.
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Did you know that Norman Scott was married to Terry-Thomas's sister-in-law? Most people today will have only a fuzzy idea who Terry-Thomas was, just as they will be vague about the Jeremy Thorpe affair, but this revelation was perhaps the key moment in the second part of A Very English Scandal.
The drama comes over as farce, indeed black comedy, coming to a climax with the failed shooting on Exmoor. One didn't even feel sorry for the dog, Rinka, the one harmless and perhaps purely likeable character in the whole story.
The creators of the television drama had little choice but to go down the comic route, and make of their series a beautiful realisation of the world of Terry-Thomas and Carry On. How else could one have remained faithful to the facts? For the facts of the matter are so bizarre, so outlandish, so simply mad, that they can't be given completely serious treatment – or rather their seriousness best emerges through the medium of comedy.
I was a schoolboy when the Thorpe affair unfolded, and I followed it closely, having been a keen supporter of the Liberal Party since 1974. (I was 11 in that year of two elections, but I took to politics early, just as some take to football.) I was pretty convinced that Thorpe stood a chance of becoming Prime Minister, and Thorpe himself evidently thought the same.
When it came to the trial in the spring of 1979, I suppose I was not the only one to see the duel between Scott and Thorpe as being not a contest of equals: an establishment grandee versus an archetypal outsider; nor could I have been the only one whose instinctive sympathy was with the grandee. In fact, Mr Justice Cantley, whose summing up was so favourable to Thorpe, became something of a national hero after the trial. And George Carman, who was the defence lawyer, became Britain's most famous barrister. The underdog, Norman Scott, was widely scorned and derided. But, as we now know, and should have realised then (perhaps we did, but not consciously) Scott was not a liar. But we wanted him to be a liar, I think. Scott was seen as a threat, not just to Thorpe, but to the society as a whole.
All that has now changed. Norman Scott (happily still with us, the only main player still alive) today would no longer be cast as a dangerous outsider, a threat to national stability. Indeed, so much has Britain changed that anything like the Thorpe affair is now impossible.
But there is one thing that continues to make the affair memorable, and that is the way Thorpe conspired to have Scott murdered in so very amateurish and incompetent a way; indeed that Thorpe thought of having Scott murdered in the first place. The whole plan, the whole idea, strikes one as completely mad. Was Thorpe off his rocker, to put it in ordinary terms? Were his actions the actions of a sane and balanced man? If not, and one can hardly see how they could have been, how was it that Thorpe was so plausible for so long?
One possible conclusion is that the leading men of the sixties (and they were all men) really did think they could get away with anything. Thorpe took terrible risks, given the mores of the time. So did people like Lord Boothby and Tom Driberg. But in those days newspapers did not publish scandalous material about politicians, even if it was true. This remained the case until the late 1970s and the time of the Thorpe trial. Thorpe could pose as the innocent victim of a blackmailer. In fact, as Hugh Grant's brilliant interpretation of his character makes clear, Thorpe was a bounder and a cad, though a charming one.
It all makes for great television: but such wonderful viewing does raise questions of just how divorced from reality and morality someone like Thorpe was. There is underlying seriousness in A Very English Scandal: we all need to treat each other with more kindness.


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Winona's Twice-Weekly Newspaper Since 1971. Click here to Advertise in the Winona Post.
These are some questions and answers that I have come up with about healthcare. A friend of mine pays about $1,000 a month for healthcare for him and his wife. Their deductible is around $500 a year. What do they get for $12,000 a year? They get to pay salaries and bonuses to executives on Wall Street. Also they pay profits to shareholders that have invested in their insurance company. So they get what is left over for their healthcare after the shareholders on Wall Street take their profits.
Do our politicians have shares in insurance companies? And, if so, could that be a conflict of interest? Policyholders pay in at the bottom and shareholders take out from the top. This is like putting a chicken coop next to a fox den.
If Minnesota would start an insurance cooperative for the people of our state, there would be no shareholders at the top on Wall Street. Only the people that pay into cooperative insurance would be the shareholders. That would keep Wall Street out of our pockets, and cooperative health care could pay dividends to their policyholders. Health insurance companies have never paid dividends to their policyholders, because their shareholders need the money so much more than their policyholders.
Minnesota could be a leader for the rest of the country in this endeavor.
Our online forms will help you through the process. Just fill in the fields with your
Any troubles, give us a call.
View all current Winona Post calendar events Click Here
Be a part of the Winona Post. Contact us to have your news delivered to your door, 507-452-1262 or firstname.lastname@example.com.


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Watch live streaming video from pivotallabs at livestream.com
This time around we'll have a mix of Pivots and friends of Pivotal.
Wiley Kesnter: Websockets
Samantha John: How to do layout in iOS for folks used to HTML and CSS.
Jason Brennan: An alternative layout framework
Cameron Cundiff: Accessibility on an iPhone
Sam Coward: iBeacons
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Free Carnival and Free BBQ at Rogue Community CollegeName: Free Carnival and Free BBQ at Rogue Community CollegeDate: May 31, 2019Time: 4:00 PM - 7:00 PM PDTEvent Description:
Free Carnival Rides and Free BBQ at Rogue Community College, Redwood Campus, Grants Pass, on May 31st, from 4:00pm-7:00pm, on the Redwood track.
Live music and Big Air Productions, will be supplying to following fun:Rocking rapid water slide, dunk tank, bungee run, all-star challenge obstacle course, home run challenge game, and sports coliseum.
Plenty of fun for all ages. Too much to list. For more information contact: Alea Bakie at email@example.com or Jana Baker at firstname.lastname@example.com.
The Chamber Office
1995 NW Vine Street
Grants Pass, OR 97526
Chamber Business Hours
Monday through Friday
9am - 5pm
CLOSED Major Holidays
(541) 476-7717