Camarguais Bull

• The article by Papo act realistically and are very good craftsmanship.
• Made with the Best Quality Material with your child in mind.
• Top Quality Children's Item.

The Papo toy line features beatifully crafted figurines and animals. Papo toys come in a wide variety of colors, all hand painted and bursting with imagination. We carry a wide selection for hours of play. Scale 1:20 True to life modeling. Meticulously hand painted figurines.

Hollywood Dreams

• Set in the city of angels and featuring wonderful performances by David Proval, Karen Black, Zack Norman, Melissa Leo, Keaton Simons and Sabrina Jaglom, Hollywood Dreams spins the tale of a young girl fresh off the bus from Iowa (The Astonishing Tanna Frederick), who falls in love with a sexy and promising young actor (Justin Kirk) though their relationship threatens to complicate her own obsessi

Set in the city of angels and featuring wonderful performances by David Proval, Karen Black, Zack Norman, Melissa Leo, Keaton Simons and Sabrina Jaglom, Hollywood Dreams spins the tale of a young girl fresh off the bus from Iowa (the astonishing Tanna Frederick), who falls in love with a sexy and promising young actor (Justin Kirk) though their relationship threatens to complicate her own actor (Justin Kirk) though their relationship threatens to complicate her own obsessive goal of becoming a famous! actress, the film perfectly captures the delightful and desperate lives of those chasing dreams in Hollywood: one day they are shuffling down a boardwalk with too many suitcases, and the next they are lounging in contemporary hillside homes with a view of the city. Though neither state is permanent, the more desirable one fuels the dream. The story s extraordinary execution portrays Hollywood as the fantastic and insane place that it is. Only director Henry Jaglom could capture this classic story with such a deliberate and intense style that it feels entirely new.

-Lane Kneedler, American Film Institute

Billy's Hollywood Screen Kiss 15x21 Framed Art Print

• High quality framed art print
• Two inch wide black wood frame
• In stock and ready to frame and ship
• Custom packed for safe delivery
• Satisfaction Guaranteed

BILLY'S HOLLYWOOD SCREEN KISS - DVD MovieFirst-time director Tommy O'Haver garnered a lot of critical acclaim for this contribution to the "new queer cinema." But he seems more clued in as to its weight than the reviewers. O'Haver rightly calls Billy's Hollywood Screen Kiss a Tommy O'Haver "trifle" in the credits and he's on the money in estimating what his film is worth. For sure, the movie has much going for it; it's wholeheartedly enjoyable and packed with the usual dynamic that saturates most gay-themed films: what does one do when that object of desire is heterosexual? In this case O'Haver at least gives his protagonist, Billy, played by Sean P. Hayes, another obsession besides the Brad Pitt-lo! okalike, prophetically named Gabriel, who is enigmatically acted by Brad Rowe. This is because Billy is a photographer, as addicted to finding the perfect picture as the perfect man. His world is formed by old movies: From Here to Eternity and Imitation of Life are his criteria and the flirty foreplay by which to gauge whether or not a love will have stamina and staying power. Of course, Billy is bound to be disappointed by gay-friendly Gabriel, who is struggling in his own way as much as Billy. Full of the usual mix of second-string players who inhabit the gay milieu (e.g., the best female friend who has man trouble of her own, and the older, secure pal who has secretly held Billy in his sights for some time), O'Haver's film breaks the mold by keeping to a dark note. It resembles a Pedro Almodovar spectacle initially with its saturated look and primary-color palette. But three-fourths through, Billy and his gang walk into the contemporary gay equivalent of a ! Gidget movie. The shift is surprising and even sometime! s funny. Billy's Hollywood Screen Kiss has a lot going for it, but it's still just a trifle, and not a milestone in the genre. --Paula NechakFirst-time director Tommy O'Haver garnered a lot of critical acclaim for this contribution to the "new queer cinema." But he seems more clued in as to its weight than the reviewers. O'Haver rightly calls Billy's Hollywood Screen Kiss a Tommy O'Haver "trifle" in the credits and he's on the money in estimating what his film is worth. For sure, the movie has much going for it; it's wholeheartedly enjoyable and packed with the usual dynamic that saturates most gay-themed films: what does one do when that object of desire is heterosexual? In this case O'Haver at least gives his protagonist, Billy, played by Sean P. Hayes, another obsession besides the Brad Pitt-lookalike, prophetically named Gabriel, who is enigmatically acted by Brad Rowe. This is because Billy is a photographer, as addicted to finding the perfect picture as th! e perfect man. His world is formed by old movies: From Here to Eternity and Imitation of Life are his criteria and the flirty foreplay by which to gauge whether or not a love will have stamina and staying power. Of course, Billy is bound to be disappointed by gay-friendly Gabriel, who is struggling in his own way as much as Billy. Full of the usual mix of second-string players who inhabit the gay milieu (e.g., the best female friend who has man trouble of her own, and the older, secure pal who has secretly held Billy in his sights for some time), O'Haver's film breaks the mold by keeping to a dark note. It resembles a Pedro Almodovar spectacle initially with its saturated look and primary-color palette. But three-fourths through, Billy and his gang walk into the contemporary gay equivalent of a Gidget movie. The shift is surprising and even sometimes funny. Billy's Hollywood Screen Kiss has a lot going for it, but it's still just a trifle, and n! ot a milestone in the genre. --Paula Nechak

Elektra (Widescreen Edition)

• TESTED

FROM THE FORCES THAT BROUGHT YOU X-MEN AND DAREDEVIL?Superstar Jennifer Garner proves that looks can kill as the sexiest action hero ever to burst from the pages of Marvel Comics. Restored to life after sustaining mortal wounds in Daredevil, an icy, solitary Elektra (Garner) now lives only for death as the world?s most lethal assassin. Using her bone-crunching martial arts skills and Kimagure?the ability to see into the future?Elektra is on a collision course with darkness? until her latest assignment forces her to make a choice that will lead either to her redemption or destruction in the ultimate battle between good and evil!While 2003's Daredevil was a conventional superhero movie, the 2005 spinoff, Elektra, is more of a wuxia-styled martial arts/fantasy flick. Elektra (Jennifer Garner) has returned to her life as a hired assassin, but she balks at an assignment! to kill a single father (Goran Visnjic, ER) and his teenage daughter (Kirsten Prout). That makes her the target of the Hand, an organization of murderous ninjas, scheming corporate types, and a band of stylish supervillains seeking to eliminate Elektra and tip the balance of power in the ongoing battle of good vs. evil.

As the star of Alias, Garner has proven that she can kick butt with the best of them, and some of the visual effects are impressive, but the action sequences tend to be anticlimactic, and there's not much to the story. Fans will notice numerous references to Frank Miller's comic books, but there's very little resemblance to Miller's cold-blooded killer (Elektra with an agent? Elektra referring to herself as a "soccer mom"?).

Is Elektra better than Daredevil? Not really, even with the distinct advantage of having all Garner and no Ben Affleck. That could be the spinoff's greatest disappointment: after Spider! -Man 2 raised the bar for comic-book movies, Elektra lowere d it back to Daredevil's level. Directed by Rob Bowman (the X-Files movie), and featuring Terence Stamp as the mysterious mentor Stick, Will Yun Lee (Die Another Day) as the chief villain, and NFL-player-turned-mixed-martial-arts-champion Bob Sapp as the immovable Stone.

DVD features
Ben Affleck's much-rumored cameo is one of the deleted scenes on the Elektra DVD. It's a one-minute throwaway, and while he's supposedly appearing as Matt Murdock (who romanced Elektra in Daredevil), the barrage of celebrity gossip makes it impossible to see him as anything other than Jennifer Garner's real-life boyfriend. There's also a making-of featurette, which is mostly promotional hype other than a few interesting effects shots; four editing featurettes; and Jennifer Garner's videotaped message to ComicCon. --David Horiuchi

More on Elektra

Elektra: The Album (Soundtrack CD)	Elektra: The Movie (Comic Adaptation)	Frank Miller Comic Books
Daredevil (Director's Cut) (DVD)	Jennifer Garner stars in Alias (DVD)	More Superhero DVDs

DOGMA INCLUDES BONUS DIGITAL COPY

• DVD
• comedy
• thrilling
• fantasy
• angels

When two banished angels find a loophole that will allow them back into heaven at the cost of humankind an unsuspecting mortal woman two prophets and the thirteenth apostle are the only ones who can stop them. Special features: subtitles in english spanish and french talent files and murch more. Studio: Ingram Entertainment Release Date: 07/26/2005 Starring: Ben Affleck Matt Damon Run time: 130 minutes Rating: R Director: Kevin SmithKevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove ! him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy,! heavenly muse (the sublime Salma Hayek, who almost single-han! dedly st eals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featuring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark EnglehartWHEN TWO BANISHED ANGELS FIND A LOOPHOLE THAT WILL ALLOW THEM BACK INTO HEAVEN AT THE COST OF HUMANKIND, AN UNSUSPECTINGMORTAL WOMAN, TWO PROPHETS AND THE THIRTEENTH APOSTLE ARE THE ONLY ONES WHO CAN STOP THEM. SPECIAL FEATURES: SUBTITLES IN EN! GLISH, SPANISH AND FRENCH, TALENT FILES AND MURCH MORE.Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck ! and Matt Damon) have discovered a loophole that would allow th! em back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-naturedly to its climax (featu! ring Alanis Morissette as a beatifically silent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark EnglehartOne of the most talked-about movies of the year is also one of the funniest! In this hilarious comic fantasy from writer/director Kevin Smith (Clerks, Chasing Amy) two banished angels (Ben Affleck and Matt Damon) find a loophole that would get them back into Heaven. The only snag? They'll be destroying existence in the process. In an effort to stop them, The overworked Voice of God (Alan Rickman)taps cynical mortal Bethany (Linda Fiorentino) to save the world by preventing the angels from reaching their unholy destination: New Jersey! Throw in two unlikely prophets named Jay and Silent Bob (Jason Mewes and Kevin Smith), the quick-witted yet little-known thirteenth apostle (Chris Rock) and a sexy, former muse with a case of writer's block (Selma Hayek) and you! 've got an hysterical and thrilling race against time packed w! ith an a ll-star cast.Kevin Smith is a conundrum of a filmmaker: he's a writer with brilliant, clever ideas who can't set up a simple shot to save his life. It was fine back when Smith was making low-budget films like Clerks and Chasing Amy, both of which had an amiable, grungy feel to them, but now that he's a rising director who's attracting top talent and tackling bigger themes, it might behoove him to polish his filmmaking. That's the main problem with Dogma--it's an ambitious, funny, aggressively intelligent film about modern-day religion, but while Smith's writing has matured significantly (anyone who thinks he's not topnotch should take a look at Chasing Amy), his direction hasn't. It's too bad, because Dogma is ripe for near-classic status in its theological satire, which is hardly as blasphemous as the protests that greeted the movie would lead you to believe.

Two banished angels (Ben Affleck and Matt Damon) have discovered a loophole ! that would allow them back into heaven; problem is, they'd destroy civilization in the process by proving God fallible. It's up to Bethany (Linda Fiorentino), a lapsed Catholic who works in an abortion clinic, to save the day, with some help from two so-called prophets (Smith and Jason Mewes, as their perennial characters Jay and Silent Bob), the heretofore unknown 13th apostle (Chris Rock), and a sexy, heavenly muse (the sublime Salma Hayek, who almost single-handedly steals the film). In some ways Dogma is a shaggy dog of a road movie--which hits a comic peak when Affleck and Fiorentino banter drunkenly on a train to New Jersey, not realizing they're mortal enemies--and segues into a comedy-action flick as the vengeful angels (who have a taste for blood) try to make their way into heaven. Smith's cast is exceptional--with Fiorentino lending a sardonic gravity to the proceedings, and Jason Lee smirking evilly as the horned devil Azrael--and the film shuffles good-na! turedly to its climax (featuring Alanis Morissette as a beatif! ically s ilent God), but it just looks so unrelentingly... subpar. Credit Smith with being a daring writer but a less-than-stellar director. --Mark EnglehartPacked with stars including Ben Affleck (GOOD WILL HUNTING), Chris Rock (NURSE BETTY), Shannon Elizabeth (AMERICAN PIE), Jason Lee (ALMOST FAMOUS), and more, this wildly irreverent comedy is actor/director Kevin Smith's hilarious finale to the adventures of Jay and Silent Bob that began in CLERKS and ran through MALLRATS, CHASING AMY, and DOGMA! When best buddies Jay (Jason Mewes) and Silent Bob (Smith) discover that a major motion picture is being based on their likenesses, they head for Hollywood to claim the big movie money they deserve. But when the dopey duo learn that they've been cut out of the cash, they set out to sabotage the flick at all costs! Featuring a host of celebrity cameos set to a hot hit soundtrack, Jay and Silent Bob's raucous cross country road trip is a crash course in the rules of the road ! with a nonstop assortment of outrageous characters that will have you laughing out loud!With sidesplitting dialogue and rampant profanity, Jay and Silent Bob Strike Back reunites Kevin Smith's dynamic duo in supreme lowbrow style. It's the fifth comedy in Smith's celebrated New Jersey "trilogy." Here Quick-Stop potheads Jay (Jason Mewes) and Silent Bob (Smith) wreak vengeance on Hollywood, where Miramax is making a "Bluntman & Chronic" feature inspired by J. and S.B., but without their permission. En route from Jersey to La La Land, Jay and his "hetero life mate" encounter sexy jewel thieves (including the delightful Shannon Elizabeth), a precocious orangutan, a dimwit wildlife marshal (Will Ferrell), and a nonstop parade of in-jokes, harmless (yet controversial) gay jokes, and splendid celebrity cameos. While gently biting the Miramax hand that feeds him, and paying affectionate homage to the Star Wars saga, Smith sheds all inhibitions to give Jay and Sile! nt Bob a stellar sendoff that's nasty, sassy, and undeniab! ly hilar ious. --Jeff ShannonImaginative theology and a bigger-than-usual budget make Kevin Smith's (CHASING AMY, CLERKS) fourth film a kind of post-Catholic fantasy that only a comic-book enthusiast of his caliber could dream up. It concerns banished angels, Loki (Matt Damon) and Bartleby (Ben Affleck) who, after a few millennia in Wisconsin, discover a loophole in Catholic doctrine that would allow them back into heaven--but prove the fallibility of God and destroy the universe. As they make their way to New Jersey to receive a plenary indulgence, God dispatches a seraphim (Alan Rickman) to recruit lapsed-Catholic Bethany (Linda Fiorentino) to stop the angels. She finds help in muses, prophets (Jay and Silent Bob), and the forgotten 13th apostle, Rufus (Chris Rock). Before long, all hell breaks loose (literally), and God (Alanis Morrisette) has to put in an appearance of her own. Smith's controversial (and very funny) film is powered by his trademark dialogue, ripe with obse! rvations on pop culture, religion, and bodily functions Included bonus digital copy for your PC & PSP must be redeemed by 06/17/09

Dorian Blues

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

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

The Black Swan: Second Edition: The Impact of the Highly Improbable: With a new section: "On Robustness and Fragility"

• ISBN13: 9780812973815
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

“You can’t tear your eyes away” (Entertainment Weekly) from this “wicked, psychosexual thriller” (Daily Variety) starring ACADEMY AWARD® WINNER Natalie Portman* and directed by Darren Aronofsky (The Wrestler ). Portman delivers “the performance of her career” (Vanity Fair ) as Nina, a stunningly talented but dangerously unstable ballerina on the verge of stardom. Pushed to the breaking point by her driven artistic director (Vincent Cassel) and the threat posed by a seductive rival dancer (Mila Kunis), Nina’s tenuous grip on reality starts to slip away â€" plunging her into a waking nightmare.Feverish worlds such as espionage and warfare have nothing on the hothouse realm of ballet, as ! director Darren Aronofsky makes clear in Black Swan, his over-the-top delve into a particularly fraught production of Swan Lake. At the very moment hard-working ballerina Nina (Natalie Portman) lands the plum role of the White Swan, her company director (Vincent Cassel) informs her that she'll also play the Black Swan--and while Nina's precise, almost virginal technique will serve her well in the former role, the latter will require a looser, lustier attack. The strain of reaching within herself for these feelings, along with nattering comments from her mother (Barbara Hershey) and the perceived rivalry from a new dancer (Mila Kunis), are enough to make anybody crack… and tracing out the fault lines of Nina's breakdown is right in Aronofsky's wheelhouse. Those cracks are broad indeed, as Nina's psychological instability is telegraphed with blunt-force emphasis in this neurotic roller-coaster ride. The characters are stick figures--literally, in the case of t! he dancers, but also as single-note stereotypes in the horror ! show: wi tchy bad mommy, sexually intimidating male boss, wacko diva (Winona Ryder, as the prima ballerina Nina is replacing). Yet the film does work up some crazed momentum (and undeniably earned its share of critical raves), and the final sequence is one juicy curtain-dropper. A good part of the reason for this is the superbly all-or-nothing performance by Natalie Portman, who packs an enormous amount of ferocity into her small body. Kudos, too, to Tchaikovsky's incredibly durable music, which has meshed well with psychological horror at least since being excerpted for the memorably moody opening credits of the 1931 Dracula, another pirouette through the dark side. --Robert Horton“You can’t tear your eyes away” (Entertainment Weekly) from this “wicked, psychosexual thriller” (Daily Variety) starring Academy Award® Winner Natalie Portman and directed by Darren Aronofsky (The Wrestler). Portman delivers “the performance of her career” (Vanity Fai! r ) as Nina, a stunningly talented but dangerously unstable ballerina on the verge of stardom. Pushed to the breaking point by her driven artistic director (Vincent Cassel) and the threat posed by a seductive rival dancer (Mila Kunis), Nina’s tenuous grip on reality starts to slip away â€" plunging her into a waking nightmare.Feverish worlds such as espionage and warfare have nothing on the hothouse realm of ballet, as director Darren Aronofsky makes clear in Black Swan, his over-the-top delve into a particularly fraught production of Swan Lake. At the very moment hard-working ballerina Nina (Natalie Portman) lands the plum role of the White Swan, her company director (Vincent Cassel) informs her that she'll also play the Black Swan--and while Nina's precise, almost virginal technique will serve her well in the former role, the latter will require a looser, lustier attack. The strain of reaching within herself for these feelings, along with nattering comment! s from her mother (Barbara Hershey) and the perceived rivalry ! from a n ew dancer (Mila Kunis), are enough to make anybody crack… and tracing out the fault lines of Nina's breakdown is right in Aronofsky's wheelhouse. Those cracks are broad indeed, as Nina's psychological instability is telegraphed with blunt-force emphasis in this neurotic roller-coaster ride. The characters are stick figures--literally, in the case of the dancers, but also as single-note stereotypes in the horror show: witchy bad mommy, sexually intimidating male boss, wacko diva (Winona Ryder, as the prima ballerina Nina is replacing). Yet the film does work up some crazed momentum (and undeniably earned its share of critical raves), and the final sequence is one juicy curtain-dropper. A good part of the reason for this is the superbly all-or-nothing performance by Natalie Portman, who packs an enormous amount of ferocity into her small body. Kudos, too, to Tchaikovsky's incredibly durable music, which has meshed well with psychological horror at least since being excerpted! for the memorably moody opening credits of the 1931 Dracula, another pirouette through the dark side. --Robert HortonA black swan is an event, positive or negative, that is deemed improbable yet causes massive consequences. In this groundbreaking and prophetic book, Taleb shows in a playful way that Black Swan events explain almost everything about our world, and yet weâ€"especially the expertsâ€"are blind to them. In this second edition, Taleb has added a new essay, On Robustness and Fragility, which offers tools to navigate and exploit a Black Swan world.

Electronic Catch Phrase

• Classic Electronic Catch Phrase with over a thousand updated new phrases for 2009
• You have to guess fast, then pass the game fast, so you won't get caught holding it when the buzzer goes off! Once you pick it up, it's tough to put it down
• An electronic timer and a built-in scorekeeper
• Includes Catch Phrase game unit and rules
• Say it fast, play it fast, it's a blast! How quickly can you get your teammates to say backseat driver? Pay through the nose? Strong, silent type? You can do or say just about anything to get them to guess the phrase

Get ready for an exciting, high-stakes adventure with Maddy, Gus and Austin: three kids on a top-secret mission! They’re close friends, each with special talents: a champion rock climber, a computer genius and a mechanical whiz specializing in high-speed go-carts. Their challenge: to crack a high-tech bank vault and pull off! the biggest heist their homeroom has ever seen --all to save Maddy's ailing Dad! They may have a plan that’s foolproof, but they’re not even old enough to drive!You may not have heard of Kristen Stewart, but she's a promising young actress who's previously appeared in Panic Room, the underrated The Safety of Objects, and Cold Creek Manor. Her charm gives a lift to preteen heist flick Catch That Kid, in which she plays an aspiring mountain climber who gets knocked off balance when an injury paralyzes her father. Unable to raise the money for an expensive operation, she commissions her two best friends (Corbin Bleu and Max Thierot) to help her rob the bank where her mother (Jennifer Beals, Flashdance, In the Soup) works as a security consultant. This hokey but serviceable premise quickly turns into an insult to logic and common sense; Catch That Kid is a disappointment from intriguing director Bart Freundlich (The Myth ! of Fingerprints, World Traveler). Stewart has chari! sma; let 's hope she can find a better vehicle for her talents. --Bret FetzerYou may not have heard of Kristen Stewart, but she's a promising young actress who's previously appeared in Panic Room, the underrated The Safety of Objects, and Cold Creek Manor. Her charm gives a lift to preteen heist flick Catch That Kid, in which she plays an aspiring mountain climber who gets knocked off balance when an injury paralyzes her father. Unable to raise the money for an expensive operation, she commissions her two best friends (Corbin Bleu and Max Thierot) to help her rob the bank where her mother (Jennifer Beals, Flashdance, In the Soup) works as a security consultant. This hokey but serviceable premise quickly turns into an insult to logic and common sense; Catch That Kid is a disappointment from intriguing director Bart Freundlich (The Myth of Fingerprints, World Traveler). Stewart has charisma; let's hope she can find a! better vehicle for her talents. --Bret FetzerYou may not have heard of Kristen Stewart, but she's a promising young actress who's previously appeared in Panic Room, the underrated The Safety of Objects, and Cold Creek Manor. Her charm gives a lift to preteen heist flick Catch That Kid, in which she plays an aspiring mountain climber who gets knocked off balance when an injury paralyzes her father. Unable to raise the money for an expensive operation, she commissions her two best friends (Corbin Bleu and Max Thierot) to help her rob the bank where her mother (Jennifer Beals, Flashdance, In the Soup) works as a security consultant. This hokey but serviceable premise quickly turns into an insult to logic and common sense; Catch That Kid is a disappointment from intriguing director Bart Freundlich (The Myth of Fingerprints, World Traveler). Stewart has charisma; let's hope she can find a better vehicle for h! er talents. --Bret FetzerWhen twelve-year-old Maddy's f! ather be comes gravely ill, she comes up with the ultimate scheme to pay for his life-saving operation -- she'll rob a bank! And she doesn't plan to do it alone. Maddy enlists the help of her two best buds, Gus and Austin, both of whom just happen to be crazy about her. They set out to steal $250,000 in cash -- and they're determined to get away with it. But first they must get by the vicious dogs, scale a 500-foot wall, and crack a top-secret code. Can these junior bandits pull off the perfect heist?Guess the answers to the clues for more than 10,000 words. Just don't be the last one holding the game.

DICKIE ROBERTS: FORMER CHILD STAR ORIGINAL MOVIE POSTER

• 30X40 NEW UK QUAD
• DESCRIPTION:  Authentic original (or specified high quality reproduction) one-sheet movie poster.
• SIZE: Approx 27x40 inches unless otherwise stated.

TV CHILD STAR OF THE '70S, DICKIE ROBERTS IS NOW 35 AND PARKING CARS. CRAVING TO REGAIN THE SPOTLIGHT, HE AUDITIONS FOR A ROLEOF A NORMAL GUY, BUT THE DIRECTOR QUICKLY SEES HE IS ANYTHING BUT NORMAL. DESPERATE TO WIN THE PART, DICKIE HIRES A FAMILY TO HELP HIM REPLAY HIS CHILDHOOD AND ASSUME THE IDENTITY OF A KID.David Spade embodies Dickie Roberts: Former Child Star with the snide, glib, and bored attitude for which he is loved by his fans. Dickie, whose mother abandoned him in his youth when his TV show was canceled, yearns to regain the spotlight. But he can't get a promising role because the director believes that Dickie isn't a real person; so, to find his real self, Dickie hires a family to give him! the childhood he never had. Dickie Roberts has some scattered laughs, but the writers have no better grasp of reality than Dickie himself; the "normal family" Dickie hires is as warm and glossy as any TV clan. A busload of real former child stars play exaggerated versions of themselves, but the result is more uncomfortable than satirical. However, if you want to see David Spade imitate a jet-ski, this is your movie. --Bret FetzerTV CHILD STAR OF THE '70S, DICKIE ROBERTS IS NOW 35 AND PARKING CARS. CRAVING TO REGAIN THE SPOTLIGHT, HE AUDITIONS FOR A ROLEOF A NORMAL GUY, BUT THE DIRECTOR QUICKLY SEES HE IS ANYTHING BUT NORMAL. DESPERATE TO WIN THE PART, DICKIE HIRES A FAMILY TO HELP HIM REPLAY HIS CHILDHOOD AND ASSUME THE IDENTITY OF A KID.David Spade embodies Dickie Roberts: Former Child Star with the snide, glib, and bored attitude for which he is loved by his fans. Dickie, whose mother abandoned him in his youth when his TV show was canceled, yearns t! o regain the spotlight. But he can't get a promising role beca! use the director believes that Dickie isn't a real person; so, to find his real self, Dickie hires a family to give him the childhood he never had. Dickie Roberts has some scattered laughs, but the writers have no better grasp of reality than Dickie himself; the "normal family" Dickie hires is as warm and glossy as any TV clan. A busload of real former child stars play exaggerated versions of themselves, but the result is more uncomfortable than satirical. However, if you want to see David Spade imitate a jet-ski, this is your movie. --Bret FetzerDavid Spade embodies Dickie Roberts: Former Child Star with the snide, glib, and bored attitude for which he is loved by his fans. Dickie, whose mother abandoned him in his youth when his TV show was canceled, yearns to regain the spotlight. But he can't get a promising role because the director believes that Dickie isn't a real person; so, to find his real self, Dickie hires a family to give him the childhood he never ! had. Dickie Roberts has some scattered laughs, but the writers have no better grasp of reality than Dickie himself; the "normal family" Dickie hires is as warm and glossy as any TV clan. A busload of real former child stars play exaggerated versions of themselves, but the result is more uncomfortable than satirical. However, if you want to see David Spade imitate a jet-ski, this is your movie. --Bret FetzerPRODUCT DESCRIPTION: At Moviestore we have an unbeatable range of both original and classic high quality reproduction movie posters. Movie poster art is a wonderful collectible item and great for home or office decor. We have been in business for 16 years so you can buy with confidence. Our guarantee - if you are not fully satisfied with your purchase from Moviestore we will gladly refund your money.