Armageddon

• When an asteroid the size of Texas is headed for Earth, the worlds best deep core drilling team is sent to nuke the rock from the inside.Starring: Ben Affleck, Steve Buscemi, Keith David, Will Patton, PeterStormare, Billy Bob Thornton, Liv Tyler, and Bruce Willis.Directed By: Michael BayRunning Time: 2 hrs. 31 mins.This film is presented in "Widescreen" format.Copyright 1999 Buena Vista Format

In DEEP IMPACT, Leo Beiderman (Elijah Wood), joins a field study for his high school's Astronomy Club and discovers a new comet that unfortunately is headed for Earth. While scientists build a cave to prevent the extinction of the human race, they estimate that only 800,000 people can be selected to survive the "Deep Impact." The threat of a comet ending the world quickly sends Americans into a panic until the president announces a plan to send astronauts on a mission to destroy the comet before it rea! ches earth.A great big rock hits the earth, and lots of people die. That's pretty much all there is to it, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch classic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that's headed right this way! As stiffly directed by Mimi Leder, this thick slice of ham errs on the side of solemnity. It may the be most earnest end-of-the-world picture since Stanley Kramer's atomic-doom drama On the Beach. There are a couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on vi! deo with his loved ones back on Earth, who follows whispered i! nstructi ons from a buddy lurking just off camera--so that his little boy won't realize that he's been struck blind. With Morgan Freeman as the president of the United States. --David ChuteDEEP IMPACT - Blu-Ray MovieA great big rock hits the earth, and lots of people die. That's pretty much all there is to it, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch classic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that's headed right this way! As stiffly directed by Mimi Leder, this thick slice of ham errs on the side of solemnity. It may the be most earnest end-of-the-world picture since Stanley Kramer's atomic-doom drama On the Beach. There are a! couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on video with his loved ones back on Earth, who follows whispered instructions from a buddy lurking just off camera--so that his little boy won't realize that he's been struck blind. With Morgan Freeman as the president of the United States. --David ChuteA great big rock hits the earth, and lots of people die. That's pretty much all there is to it, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch classic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that's ! headed right this way! As stiffly directed by Mimi Lede! r, this thick slice of ham errs on the side of solemnity. It may the be most earnest end-of-the-world picture since Stanley Kramer's atomic-doom drama On the Beach. There are a couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on video with his loved ones back on Earth, who follows whispered instructions from a buddy lurking just off camera--so that his little boy won't realize that he's been struck blind. With Morgan Freeman as the president of the United States. --David ChuteA great big rock hits the earth, and lots of people die. That's pretty much all there is to it, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch c! lassic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that's headed right this way! As stiffly directed by Mimi Leder, this thick slice of ham errs on the side of solemnity. It may the be most earnest end-of-the-world picture since Stanley Kramer's atomic-doom drama On the Beach. There are a couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on video with his loved ones back on Earth, who follows whispered instructions from a buddy lurking just off camera--so that his little boy won't realize that he's been struck blind. With Morgan Freeman as the president of the United States. --David ChuteFrom the blockbuster-making team who produced and directed PEARL HARBOR and THE ROCK (Jerry Bruckheimer and ! Michael Bay) comes the biggest movie of 1998 -- ARMAGEDDON! St! arring t he explosive talents of Bruce Willis (DIE HARD), Academy Award(R)-winners Ben Affleck (GOOD WILL HUNTING) and Billy Bob Thornton (SLING BLADE), Liv Tyler (INVENTING THE ABBOTTS), Steve Buscemi (CON AIR), and Will Patton (INVENTING THE ABBOTTS), ARMAGEDDON is a meteor storm of action-adventure moviemaking that has you on the edge of your seat forgetting to breathe! When NASA's executive director, Dan Truman (Thornton), realizes the Earth has 18 days before it's obliterated by a meteor the size of Texas, he has only one option -- land a ragtag team of roughneck oil drillers on the asteroid and drop a nuclear warhead into its core. Spectacular special effects, laugh-out-loud humor, great characters, riveting storytelling, and heartfelt emotion make ARMAGEDDON an exhilarating thrill ride you'll want to experience like there's no tomorrow.The latest testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) conti! nues Hollywood's millennium-fueled fascination with the destruction of our planet. There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid-fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but lovable, of course) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Dunc! an, all adding needed touches of humor and charisma. When Bay ! applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable females--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? --Dave McCoyThe 1998 testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and direct! or Michael Bay (The Rock, Bad Boys) continues Hollywood's millennium-fueled fascination with the destruction of our planet. There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid- fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but lovable, of course) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Bus! cemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all! adding needed touches of humor and charisma. When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable females--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? --Dave McCoy

Flashbacks Of A Fool [Blu-ray]

• FLASHBACKS OF A FOOL BLU-RAY (BLU-RAY DISC)

Daniel Craig delivers a startling performance as Joe Scott, a washed-up Hollywood star adrift in a haze of sex, drugs and squandered fame. But when he receives news of the sudden death of his childhood best friend, Joe flashes back to his younger self (played by Harry Eden of Oliver Twist) in his small English seaside village and the summer of innocence and tragedy that would change his life forever. Olivia Williams (The Sixth Sense), Claire Forlani (CSI:NY) and Eve co-star in this powerful drama about love, loss and one man’s journey to redemption, executive produced by Daniel Craig and featuring songs by Scott Walker, David Bowie and Roxy Music.Leading man Daniel Craig apparently made Flashbacks of a Fool (he was also one of the executive producers) in between stints as James Bond, and you can see why he was attract! ed to it; Joe Scott, the character he portrays in this film, could hardly be less like the suave, ever-resourceful 007. Ensconced in a fab, oceanfront Malibu crib, Joe is a movie star on the skids. Hooked on coke and drink, engaging in group gropes with dumb Hollywood bimbos, he’s sunk so low that his sassy assistant (Eve) calls him "a disgrace to white folks," and even his agent is sick of him, which is somewhat akin to a parasite dissing its host (it’s a measure of writer-director Baillie Walsh’s script’s lack of depth that we never really see what made Joe so great in the first place, or so bad now). When a call comes that a childhood friend has died, Joe decides to return to his native England for the funeral, whereupon an extended flashback kicks in. Young Joe (Harry Eden), it seems, was as randy and hopelessly naïve as a lot of teenage boys. Though he had the hots for the sexiest young thang in town (a coastal village that’s as lovely in its way as the Cali! fornia setting, both of them handsomely photographed by cinema! tographe r John Mathieson; the locations, in fact, are probably the most attractive element of the film), he also wasn’t immune to the advances of Evelyn (Jodhi May), the older married woman who lives next door. And when a tragedy involving Evelyn’s daughter struck while she and Joe were in flagrante, Joe handled it by leaving town, never to return--until now, that is. He discovers that his late pal’s widow is the same young girl Joe’d had his eye on, but otherwise his homecoming is a strangely muted affair; not a lot happens, which pretty much applies to the film overall. In the end, Flashbacks of a Fool has its touching moments, but it might have turned out better had it been both shaken and stirred. --Sam Graham

Stills from Flashbacks of a Fool (Click for larger image)

Flashbacks of a Fool Soundtrack
Daniel Craig delivers a startling performance as Joe Scott, a washed-up Hollywood star adrift in a haze of sex, drugs and squandered fame. But when he receives news of the sudden death of his childhood best friend, Joe fla! shes back to his younger self (played by Harry Eden of Oliver Twist) in his small English seaside village and the summer of innocence and tragedy that would change his life forever. Olivia Williams (The Sixth Sense), Claire Forlani (CSI:NY) and Eve co-star in this powerful drama about love, loss and one man s journey to redemption, executive produced by Daniel Craig and featuring songs by Scott Walker, David Bowie and Roxy Music.Leading man Daniel Craig apparently made Flashbacks of a Fool (he was also one of the executive producers) in between stints as James Bond, and you can see why he was attracted to it; Joe Scott, the character he portrays in this film, could hardly be less like the suave, ever-resourceful 007. Ensconced in a fab, oceanfront Malibu crib, Joe is a movie star on the skids. Hooked on coke and drink, engaging in group gropes with dumb Hollywood bimbos, he’s sunk so low that his sassy assistant (Eve) calls him "a disgrace to white folks," and ev! en his agent is sick of him, which is somewhat akin to a paras! ite diss ing its host (it’s a measure of writer-director Baillie Walsh’s script’s lack of depth that we never really see what made Joe so great in the first place, or so bad now). When a call comes that a childhood friend has died, Joe decides to return to his native England for the funeral, whereupon an extended flashback kicks in. Young Joe (Harry Eden), it seems, was as randy and hopelessly naïve as a lot of teenage boys. Though he had the hots for the sexiest young thang in town (a coastal village that’s as lovely in its way as the California setting, both of them handsomely photographed by cinematographer John Mathieson; the locations, in fact, are probably the most attractive element of the film), he also wasn’t immune to the advances of Evelyn (Jodhi May), the older married woman who lives next door. And when a tragedy involving Evelyn’s daughter struck while she and Joe were in flagrante, Joe handled it by leaving town, never to return--until now, that i! s. He discovers that his late pal’s widow is the same young girl Joe’d had his eye on, but otherwise his homecoming is a strangely muted affair; not a lot happens, which pretty much applies to the film overall. In the end, Flashbacks of a Fool has its touching moments, but it might have turned out better had it been both shaken and stirred. --Sam Graham

Stills from Flashbacks of a Fool (Click for larger image)

The Great Buck Howard

• Once upon a time, Buck Howard (John Malkovich) spent his days in thelimelight. His mind-boggling feats as a mentalist extraordinaire notto be confused with those of a mere magician - earned him a marquee actin Vegas and 61 appearances on Johnny Carson s Tonight Show. In his ownhumble opinion, his talents go far beyond simple sleight of hand hecan read minds and hypnotize not just a single soul but

Once upon a time, Buck Howard [John Malkovich] spent his days in the
limelight as a mentalist extraordinaire! Nowadays, it s clear to everyone except Buck that his act has lost its luster. Convinced his comeback is imminent, Buck needs a new road manager and personal assistant. Recent law school drop-out and would-be writer Troy Gable [Colin Hanks] needs a job and a
purpose. Working for the pompous, has-been mentalist fills the former requirement, but how it satisfies the latter is questionabl! e. Nonetheless, with the aid of a fiery publicist [Emily Blunt] and a bold stroke of luck, Buck lands back in the American consciousness, taking Troy along for the ride.As Buck Howard (John Malkovich) explains in Sean McGinly's funny valentine to the talk show mainstays of yesteryear, he's a mentalist, not a magician. Unlike the brooding protagonists of The Illusionist and The Prestige, Howard doesn't do Harry Houdini-style tricks. Rather, he reads minds, finds hidden objects, and performs other feats that eschew props and assistants. Back in the day, Howard appeared on The Tonight Show 61 times (McGinly based his character on The Amazing Kreskin), but his best years appear to be behind him when he takes on law-school dropout Troy (a low-key Colin Hanks) as his road manager. From the start, Troy finds his temperamental employer fascinating and frustrating in equal measure. Desperate to get back in the limelight, Howard decides to hypnotize several hundr! ed audience members at once. Along with a sassy press agent (E! mily Blu nt) and two over-enthusiastic venue managers (Steve Zahn and Debra Monk), Troy works with Howard to make it happen. To his surprise, things go both better and worse than expected, and everything changes for the unlikely pair. Produced by Tom Hanks's Playtone banner and featuring the two-time Oscar winner as Toby's disapproving father, The Great Buck Howard follows the rise, fall, and rise template of many Hanks productions (see That Thing You Do!), but McGinly handles a large cast with ease, the laughs are plentiful, the cameos--John Stewart, Conan O’Brien, George Takei, etc.--are a treat, and the unpredictable Malkovich gives his most nuanced performance since, well, Being John Malkovich. --Kathleen C. Fennessy

Garfield Fat Cat Volume 1

• ISBN13: 9780345464552
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Witty, urbane, sassy, and downright delightful, here are the first three original books of pure Garfield collected in one packed volume. They tell the story of the feisty feline's birth, adoption, and growth into general wonderfulness---just in case you've forgotten --and remind us why we loved him like we do.

Monster Claw Carnage - Spider-Man The Animated Series Action Figure

• Monster Claw Carnage from the Spider-Man 3 3/4" action figure collection from Hasbro
• Each figure comes with 3 Fiercest Foes Battle Cards and an interlocking web-tech accessory
• For Ages 4 & Up

With Suits for any mission, Spider-Man is ready to battle his fiercest foes no matter where they hide! The Carnage action figure comes with a snap-shut monster claw!

James Bond Ultimate Edition - Vol. 1 (The Man with the Golden Gun / Goldfinger / The World Is Not Enough / Diamonds Are Forever / The Living Daylights)

• Box Set

ENOUGH - DVD MovieRidiculous, manipulative, and utterly irresistible, this push-button thriller instantly qualifies as a guilty pleasure, even when you know it's just a B-movie potboiler with moxie to spare. Taking a savvy clue from Ashley Judd's Double Jeopardy and any number of endangered-female melodramas from Hollywood's golden age, Jennifer Lopez stars as a blue-collar beauty who marries the really wrong guy (Billy Campbell). Eventually, of course, she discovers his philandering and spends the rest of the movie in nomadic flight from his hot-tempered brutality. Bankrolled by her estranged father (Fred Ward), she protects her young daughter, but knowing she must face the inevitable showdown with Campbell, she buffs up with Krav Maga self-defense courses and... well, we won't spoil the "surprise." With Campbell doing everything but twirl his mustache, this sham! eless provocation is beneath the talents of director Michael Apted, but with J. Lo in charge, it's a revenge fantasy that's guaranteed to please. --Jeff Shannon

Money has great power in our lives. Used wisely, it is one key to accomplishing our goals, providing for our needs, and fulfilling our life purpose. In recent years, many of us ignored the wisdom of the past when it came to managing and spending our money. Credit card debt soared, savings rates plummeted, and our home equity became something to be tapped into and spent rather than a source of security in retirement. We felt an insatiable desire for more. And we found ourselves spending tomorrow’s money today in order to have what we hoped would satisfy. The result of all of this was not greater happiness and satisfaction, but greater stress and anxiety.

Enough is an invitation to rediscover the Bible’s wisdom when it comes to prudent financial practices. In these pages are found the keys! to experiencing contentment, overcoming fear, and discovering! joy thr ough simplicity and generosity. This book could change your life, by changing your relationship with money.  

“We Americans love our stuff. We’re living in a fast-paced, me-first, instant-gratification world, and it’s finally catching up to us. Debt is out of control, homes are in foreclosure  ... even banks are going out of business. What the world needs today is the message of contentment and simplicity, and that’s exactly what Pastor Adam Hamilton delivers in Enough.”
Dave Ramsey, New York Times Best-Selling Author and Nationally Syndicated Radio Talk Show Host 

“Once again, Adam Hamilton is leading the church; ‘Enough is enough’ was once a Wesleyan watchword. Adam breathes new life into the Wesleyan commitment to simplicity. Amid a culture of greed and conspicuous consumption Adam calls us to a biblically based, evangelical j! oy of having the faith to say ‘enough is enough.’”
Bishop Will Willimon
United Methodist Church, Birmingham Area

“I pay close attention to whatever Adam Hamilton writes. His books are marked by extraordinary pastoral insight, biblical and theological depth, courage to speak the truth, and down-to-earth practicality. Enough comes like an antidote in the middle of a pandemic. I hope that classes, groups, couples, and individuals will use this bookâ€"and the economic crisis it addressesâ€"as a challenge to get healthy again by deepening our discipleship in the vital area of money and possessions.”
Brian McLaren, Author/Networker (brianmclaren.net)

No Description Available.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 16-SEP-2003
Med! ia Type: DVDRidiculous, manipulative, and utterly irresist! ible, th is push-button thriller instantly qualifies as a guilty pleasure, even when you know it's just a B-movie potboiler with moxie to spare. Taking a savvy clue from Ashley Judd's Double Jeopardy and any number of endangered-female melodramas from Hollywood's golden age, Jennifer Lopez stars as a blue-collar beauty who marries the really wrong guy (Billy Campbell). Eventually, of course, she discovers his philandering and spends the rest of the movie in nomadic flight from his hot-tempered brutality. Bankrolled by her estranged father (Fred Ward), she protects her young daughter, but knowing she must face the inevitable showdown with Campbell, she buffs up with Krav Maga self-defense courses and... well, we won't spoil the "surprise." With Campbell doing everything but twirl his mustache, this shameless provocation is beneath the talents of director Michael Apted, but with J. Lo in charge, it's a revenge fantasy that's guaranteed to please. --Jeff ShannonJohn Bogle puts our obsession with financial success in perspective

Throughout his legendary career, John C. Bogle-founder of the Vanguard Mutual Fund Group and creator of the first index mutual fund-has helped investors build wealth the right way and led a tireless campaign to restore common sense to the investment world. Along the way, he's seen how destructive an obsession with financial success can be. Now, with Enough., he puts this dilemma in perspective.

Inspired in large measure by the hundreds of lectures Bogle has delivered to professional groups and college students in recent years, Enough. seeks, paraphrasing Kurt Vonnegut, "to poison our minds with a little humanity." Page by page, Bogle thoughtfully considers what "enough" actually means as it relates to money, business, and life.

• Reveals Bogle's unparalleled insights on money and what we should consider as the true treasures in our lives
• Details the values we should emula! te in our business and professional callings
• Contains thoug! ht-provo king life lessons regarding our individual roles in society

Written in a straightforward and accessible style, this unique book examines what it truly means to have "enough" in world increasingly focused on status and score-keeping.
Amazon.com Exclusive: William J. Bernstein on Enough
William Bernstein, Ph.D., M.D. is the critically acclaimed author, financial theorist and historian whose books include A Splendid Exchange: How Trade Shaped the World, The Birth of Plenty, The Four Pillars of Investing, and The Intelligent Asset Allocator. Bernstein is frequently quoted in national publications, including The Wall Street Journal, Barron's, Money, and Forbes.

If you are wondering about the cause of the current market crisis, th! en you haven't been reading enough of Jack Bogle.

Because he certainly knows not only where, but why and how. For decades Jack has been communicating his disquiet in previous books, speeches, and public testimony. Years from now, when historians and investors dissect the economic and market meltdowns of 2008, they'll consult this slim, well-written volume.

In order to understand the intellectual and moral platform from which he surveys the economic wreckage, you need to know a little of his story. Bogle founded one of the world's great investment companies, the Vanguard Group. Most men in his situation would have levered such success into a multi-billion-dollar net worth; instead, he "mutualized" Vanguard, converting it, in effect, into a nonprofit organization whose only goal was to benefit its fund holders. From an ethical perspective, Vanguard is the only "investment company" worthy of that name. (As opposed to most financial firms, which are in fact "m! arketing companies" whose main purpose is to milk unwitting in! vestors of fees and commissions.)

The answer to the conundrum of 2008 lies in the book’s title, "Enough," which is the punch line from a delightful Kurt Vonnegut/Joseph Heller story. Simply put, our nation has been suffering from decades of unchecked financial excess, for which we are now paying the piper: excess in investment company fees; excess in financial speculation masquerading as diversification and innovation; excess in the salaries of top executives; excess in salesmanship; and most importantly, excess in the role played by the financial industry in our national economy and national life.

Each of these excesses gets its own chapter, and each one is a tightly written gem. Chapters 2 and 3, which dissect out the frenzy of derivatives, structured vehicles, and layers of intermediation behind the recent collapse, alone justify the book's purchase price.

As Bogle states in the book's beginning, in the spring of 2007 the financial services sector--which! , after all, produces nothing of substantive value--accounted for one-third of the earnings of the S&P 500. By the time you read this, this outsized influence will have shrunken drastically. Let Enough be your welcome to the brave new world; it will satisfy your curiosity, give you a sense of moral balance in this most materialistic of ages, and even plump up your investment portfolio.

--William J. Bernstein

---

Product Description

Written by John C. Bogleâ€"the legendary founder of the Vanguard Mutual Fundâ€"Enough. offers his unparalleled insights on money, the values we should emulate in our business and professional callings, and what we should consider as the true treasures in our lives. Inspired in large measure by the hundreds of lectures Bogle has delivered to professional groups and college students in recent years, this book will! help you discover what it really means to have "enough" and h! ow close you are to really having it.Ridiculous, manipulative, and utterly irresistible, this push-button thriller instantly qualifies as a guilty pleasure, even when you know it's just a B-movie potboiler with moxie to spare. Taking a savvy clue from Ashley Judd's Double Jeopardy and any number of endangered-female melodramas from Hollywood's golden age, Jennifer Lopez stars as a blue-collar beauty who marries the really wrong guy (Billy Campbell). Eventually, of course, she discovers his philandering and spends the rest of the movie in nomadic flight from his hot-tempered brutality. Bankrolled by her estranged father (Fred Ward), she protects her young daughter, but knowing she must face the inevitable showdown with Campbell, she buffs up with Krav Maga self-defense courses and... well, we won't spoil the "surprise." With Campbell doing everything but twirl his mustache, this shameless provocation is beneath the talents of director Michael Apted, but with J. L! o in charge, it's a revenge fantasy that's guaranteed to please. --Jeff Shannon

For more than thirty years, humankind has known how to grow enough food to end chronic hunger worldwide. Yet in Africa, more than 9 million people every year die of hunger, malnutrition, and related diseases every yearâ€"most of them children. In this powerful investigative narrative, Wall Street Journal reporters Kilman & Thurow show exactly how, in the past few decades, Western policies conspired to keep Africa hungry and unable to feed itself. Enough is essential reading on a humanitarian issue of utmost urgency.

Disc 1: *Goldfinger (1964) THE COMPLETE SPECIAL FEATURES LIBRARY: MISSION DOSSIER Audio Commentary Featuring Guy Hamilton Audio Commentary Featuring Cast and Crew

Disc 2: **Goldfinger Bonus Disc DECLASSIFIED: MI6 VAULT Sean Connery From the Set of Goldfinger Screen Tests On Tour With the Aston Martin DB-5 Honor Blackman Open-Ended Interview 007 ! MISSION CONTROL Interactive Guide Into the World of Goldfinger! The Ma king of Goldfinger The Goldfinger Phenomenon Original Publicity Featurette MINISTRY OF PROPAGANDA Original Trailers, TV Spots, Photo Gallery & Radio Communications

Disc 3: *The World Is Not Enough (1999) THE COMPLETE SPECIAL FEATURES LIBRARY: MISSION DOSSIER Audio Commentary Featuring Director Michael Apted Audio Commentary Featuring Peter Lamont, David Arnold and Vic Armstrong

Disc 4: **The World Is Not Enough Bonus Disc DECLASSIFIED: MI6 VAULT Deleted Scenes and Alternate Angles With Introductions by Director Michael Apted Alternate Angle, Expanded Angle Scene: The Thames Boat Chase James Bond Down River - Original 1999 Featurette Creating an Icon: Making the Teaser Trailer Hong Kong Press Conference 007 MISSION CONTROL Interactive Guide Into the World of The World Is Not Enough The Making of The World Is Not Enough Bond Cocktail Tribute to Desmond Llewelyn Garbage 'The World Is Not Enough' Music Video The Secrets of 007 MINISTRY OF PROPAGANDA Orig! inal Trailer & Photo Gallery

Disc 5: *Diamonds Are Forever (1971) THE COMPLETE SPECIAL FEATURES LIBRARY: MISSION DOSSIER Audio Commentary Featuring Director Guy Hamilton and Members of the Cast and Crew

Disc 6: **Diamonds Are Forever Bonus Disc DECLASSIFIED: MI6 VAULT Deleted Scenes Sean Connery 1971: The BBC Interview Lesson # 007: Close Quarter Combat Deleted Footage - Oil Rig Attack Satellite & Explosions Test Reel Alternate & Expanded Angles 007 007 MISSION CONTROL Interactive Guide Into the World of Diamonds Are Forever Inside Diamonds Are Forever Cubby Broccoli - The Man Behind Bond MINISTRY OF PROPAGANDA Original Trailers, TV Spots, Photo Gallery & Radio Communications

Disc 7: *The Man With The Golden Gun (1974) **The Man With The Golden Gun Bonus Disc Newly Recorded Audio Commentary Featuring Sir Roger Moore THE COMPLETE SPECIAL FEATURES LIBRARY: MISSION DOSSIER Audio Commentary Featuring Director Guy Hamilton and Members of the Cast and Crew !

Disc 8: DECLASSIFIED: MI6 VAULT Roger Moore and HervÃ(c! ) Villec haize - The Russell Harty Show On Location With The Man With the Golden Gun Guy Hamilton: The Director Speaks Girls Fighting American Thrill Show Stunt Film The Road to Bond: Stunt Coordinator W.J. Millian Jr. 007 MISSION CONTROL Interactive Guide Into the World of The Man With the Golden Gun Inside The Man With the Golden Gun An Original Documentary Double-O Stuntmen: A Look at the Greatest Stunts and Stunt Performers in the Bond Films MINISTRY OF PROPAGANDA Original Trailers, TV Spots, Photo Gallery & Radio Communications

Disc 9: *The Living Daylights (1987) THE COMPLETE SPECIAL FEATURES LIBRARY: MISSION DOSSIER Audio Commentary Featuring Director John Glen and Members of the Cast and Crew

Disc 10: **The Living Daylights Bonus Disc DECLASSIFIED: MI6 VAULT Deleted Scenes With Introduction by John Glen Happy Anniversary, 007 Silver Anniversary Featurettes Timothy Dalton: The New James Bond/Vienna Press Conference Timothy Dalton: On Acting Dalton and d'! Abo Interviews The Ice Chase Outtakes - Deleted Footage With Director John Glen Narration 007 MISSION CONTROL Interactive Guide Into the World of The Living Daylights Inside The Living Daylights Ian Fleming: 007's Creator a-ha 'The Living Daylights' Music Video The Making of 'The Living Daylights' Music Video MINISTRY OF PROPAGANDA Original Trailers, TV Spots, Photo Gallery & Radio Communications

Breakfast of Champions: A Novel

• ISBN13: 9780385334204
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

In Breakfast of Champions, one of Kurt Vonnegut’s  most beloved characters, the aging writer Kilgore Trout, finds to his horror that a Midwest car dealer is taking his fiction as truth. What follows is murderously funny satire, as Vonnegut looks at war, sex, racism, success, politics, and pollution in America and reminds us how to see the truth."We are healthy only to the extent that our ideas are humane." So reads the tombstone of downtrodden writer Kilgore Trout, but we have no doubt who's really talking: his alter ego Kurt Vonnegut. Health versus sickness, humanity versus inhumanity--both sets of ideas bounce through this challenging and funny book. As with the rest of Vonnegut's pure! fantasy, it lacks the shimmering, fact-fueled rage that illuminates Slaughterhouse-Five. At the same time, that makes this book perhaps more enjoyable to read.

Breakfast of Champions is a slippery, lucid, bleakly humorous jaunt through (sick? inhumane?) America circa 1973, with Vonnegut acting as our Virgil-like companion. The book follows its main character, auto-dealing solid-citizen Dwayne Hoover, down into madness, a condition brought on by the work of the aforementioned Kilgore Trout. As Dwayne cracks, then crumbles, Breakfast of Champions coolly shows the effects his dementia has on the web of characters surrounding him. It's not much of a plot, but it's enough for Vonnegut to air unique opinions on America, sex, war, love, and all of his other pet topics--you know, the only ones that really count.

Cellular (New Line Platinum Series)

• SUSPENSE IS ON THE LINE! After getting a frantic call on his cell phone from a kidnapped woman, a young man must battle his way through a ruthless world of lies and murder to rescue her. A fast-paced thriller in the vein of Phone Booth and Speed that will keep you riveted with edge-of-your-seat car chase scenes.Running Time: 95 min. Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating:&nbs

SUSPENSE IS ON THE LINE! After getting a frantic call on his cell phone from a kidnapped woman, a young man must battle his way through a ruthless world of lies and murder to rescue her. A fast-paced thriller in the vein of Phone Booth and Speed that will keep you riveted with edge-of-your-seat car chase scenes.

DVD Features:
Audio Commentary:with Director David Ellis, writers Larry Cohen and Chris Morgan
DVD ROM Features:Script-to-Screen
Deleted Scenes:w/optional Direct! or commentary
Featurette:3 Exciting Featurettes! "Celling Out"A look at cellphones in today's culture "Dialing Up Cellular"Making of The Film "Code of Silence: Inside the Rampart Scandal"
Theatrical Trailer

Just when you think it's getting silly, Cellular serves up another tantalizing twist. In the time-honored tradition of Sorry, Wrong Number and Wait Until Dark, Kim Basinger is well-cast as a resourceful damsel-in-distress who thwarts her kidnappers by connecting with a n'er-do-well cell-phone user (Chris Evans, later seen in The Fantastic Four) who races against time to rescue her from afar. One good cop (William H. Macy) assembles clues to uncover conspiracy, while first-time writer Chris Morgan and pulp-movie master Larry Cohen (who conceived the plot, similar to his own Phone Booth screenplay) serve up a consistently satisfying string of high-tension surprises. Jason Statham continues to prove his rising-s! tar status as the film's tenacious villain, and director David! Ellis ( Final Destination 2) takes advantage of his experience as a veteran stunt coordinator and second-unit director, making good use of locations in his native Santa Monica, and wringing credible suspense from a deliriously far-fetched premise. --Jeff Shannon

Captain America: The First Avenger (Two-Disc Blu-ray/DVD Combo + Digital Copy)

• 1 Blueray Disk Only.
• In Jewel Case
• Preowned
• Great Condition

From the producers of Shaun of the Dead, Attack the Block is a fast, funny, frightening action adventure movie that pits a teen street gang against an invasion of savage alien monsters. It turns a London housing project into a sci-fi battleground, the low-income apartment complex into a fortress under siege. And it turns a crazy mix of tough street kids into a team of kick ass heroes. It’s inner city versus outer space and it’s going to explode. A high-concept, micro-pocketed mash note to John Carpenter and Walter Hill, this Cockney vs. Aliens saga generates an enormous amount of likability out of some very limited means. Executive produced by the folks behind Shaun of the Dead, writer-director Joe Cornish's feature debut mixes gore and gags in a ratio that should drive genre fans bon! kers. Unlike many recent Comic-Con-friendly movies, however, Attack the Block admirably concentrates on actually telling a story first, with the in-jokes and pop-culture references treated as tinsel. Kicking off with a literal bang, Cornish's script follows a group of British teenage punks on the downward slide to outright thugdom. Once a horde of neon-toothed aliens starts falling from the sky, however, the kids find themselves appointed the unlikely protectors of their grotty South London housing complex. Cue the bottle rockets, dirt bikes, and ninja weapons. There's not much to the story beyond that, really, but any narrative sparseness is leavened by some healthy doses of low-budget ingenuity, chief among them the design of the negative-image aliens themselves, which suggest ticked-off wild boars after a serious Rogaine overdose. On the character front, the film also scores, quickly sketching out its team of likable (but not cuddly) bad seeds with distinct person! alities. (That said, American viewers should be prepared to ha! ve at le ast a quarter of the slang fly over their heads.) Clocking in at a just-right 88 minutes, Attack the Block may ultimately never rise above the level of clever homage, but there's copious evidence that the filmmaker already has a firm understanding of what makes B movies tick. While his first film doesn't exactly reinvent the wheel, check out all the neat stuff in the spokes. --Andrew WrightFrom the producers of Shaun of the Dead, Attack the Block is a fast, funny, frightening action adventure movie that pits a teen street gang against an invasion of savage alien monsters. It turns a London housing project into a sci-fi battleground, the low-income apartment complex into a fortress under siege. And it turns a crazy mix of tough street kids into a team of kick ass heroes. It’s inner city versus outer space and it’s going to explode. A high-concept, micro-pocketed mash note to John Carpenter and Walter Hill, this Cockney vs. Aliens saga generate! s an enormous amount of likability out of some very limited means. Executive produced by the folks behind Shaun of the Dead, writer-director Joe Cornish's feature debut mixes gore and gags in a ratio that should drive genre fans bonkers. Unlike many recent Comic-Con-friendly movies, however, Attack the Block admirably concentrates on actually telling a story first, with the in-jokes and pop-culture references treated as tinsel. Kicking off with a literal bang, Cornish's script follows a group of British teenage punks on the downward slide to outright thugdom. Once a horde of neon-toothed aliens starts falling from the sky, however, the kids find themselves appointed the unlikely protectors of their grotty South London housing complex. Cue the bottle rockets, dirt bikes, and ninja weapons. There's not much to the story beyond that, really, but any narrative sparseness is leavened by some healthy doses of low-budget ingenuity, chief among them the design of the ! negative-image aliens themselves, which suggest ticked-off wil! d boars after a serious Rogaine overdose. On the character front, the film also scores, quickly sketching out its team of likable (but not cuddly) bad seeds with distinct personalities. (That said, American viewers should be prepared to have at least a quarter of the slang fly over their heads.) Clocking in at a just-right 88 minutes, Attack the Block may ultimately never rise above the level of clever homage, but there's copious evidence that the filmmaker already has a firm understanding of what makes B movies tick. While his first film doesn't exactly reinvent the wheel, check out all the neat stuff in the spokes. --Andrew WrightTucker and Dale are two best friends on vacation at their dilapidated mountain house, who are mistaken for murderous backwoods hillbillies by a group of obnoxious, preppy college kids. When one of the students gets separated from her friends, the boys try to lend a hand, but as the misunderstanding grows, so does the body count.Slapdash S! cary Movie cycle aside, the slasher genre has proven fairly resistant to effective satire, mainly because the movies themselves already go so far over the top. (After Jason goes to space, where else can you possibly go?) Arriving amidst some monster film festival buzz, Tucker & Dale vs. Evil scores big laughs by slyly inverting the formula, casting the standard backwoods maniacs as bewildered everymen surrounded by accident-prone teens. While it may basically be a one-joke movie, it sustains that joke for a remarkably long time. Kicking off with an effective Blair Witch jab, the story follows Tucker (Alan Tudyk) and Dale (Tyler Labine), two good-natured good ol' boys with aims of fixing up their rickety cabin in the woods into a vacation home. Before they've emptied their first six-pack, they find themselves besieged by a group of stereotypical college kids who start dying in increasingly bizarre ways around them. As the bodies stack like cordwood, the duo! 's obliviousness only grows. First-time director-cowriter Eli ! Craig cl early knows his subject material well, trotting out the skinny-dipping coeds and conveniently placed sharp implements with relish, particularly with a wood chipper that really should have received a supporting actor credit. Clever as the concept is, though, it wouldn't stretch nearly as far without the performances, most notably Labine as a Bigfootish idiot savant and 30 Rock's Katrina Bowden as a Final Girl fully aware of the situation's absurdity. Although the invention may sputter at times, Tucker & Dale provides enough amiable chuckles and ridiculous gore to satisfy even the snootiest genre fan. For the sequel, can we get them near a rocket? --Andrew WrightJJ Abrams and Steven Spielberg join forces in this extraordinary tale of youth, mystery, and adventure. Super 8 tells the story of six friends who witness a train wreck while making a Super 8 movie, only to learn that something unimaginable escaped during the crash. They soon discover th! at the only thing more mysterious than what it is, is what it wants. Experience the film that critics rave is, “filled with unstoppable imagination and visual effects to spare. It will put a spell on you.” â€" Peter Travers, Rolling StoneFew filmmakers have ever had a run at the tables like Steven Spielberg, whose output from 1971's Sugarland Express to, say, 1982's E.T. displayed an amazingly unforced melding of huge set pieces and small human gestures. Even at their most chaotic, they somehow felt organic. Super 8, writer-director J.J. Abrams's authorized tribute to classic Spielbergisms, hits all of the marks (Lived-in suburbia backdrop, check. Awestruck gazes upwards, check. Parental discord, check. Lens flares, amazingly huge check), but its adherence to the formula squelches much of its own potential. Appealing as it is to see a summer movie that retro-prioritizes character development over jittery quick-cut explosions, the viewer is always! aware at how furiously it's working to seem effortless. Set i! n 1979, Abrams's script follows a group of movie-crazy kids attempting to make a zombie flick, only to have their plans cut short by a close encounter with a train derailment. As the military pours over the wreckage and neighbors start disappearing, the gang realizes that their footage contains a cameo appearance by an extremely grumpy guest star. For a film whose promotional campaign hinged so strongly on creating an air of mystery, Super 8 is a fairly straightforward melding of E.T. and Jurassic Park, albeit one featuring an oddly schizophrenic monster (he eats people… until he doesn't). Abrams makes his young cast shine (particularly when developing a hint of romance between leads Joel Courtney and Elle Fanning), while also providing a nice character arc for Kyle Chandler, as a widowed deputy who can see his relationship with his son slipping away. Aside from a few primo early jolts, however, the creature-feature aspects feel increasingly shoehorned in alon! gside the more assured coming-of-age elements. Abrams's film has more than enough bright spots to warrant a viewing, but its insistence on worshipfully following the master's playbook is a bit of a bummer. Imitation isn't always flattering. --Andrew WrightStudio: Oscilloscope Pictures Release Date: 10/25/2011 Run time: 80 minutes Rating: RTucker and Dale are two best friends on vacation at their dilapidated mountain house, who are mistaken for murderous backwoods hillbillies by a group of obnoxious, preppy college kids. When one of the students gets separated from her friends, the boys try to lend a hand, but as the misunderstanding grows, so does the body count.Slapdash Scary Movie cycle aside, the slasher genre has proven fairly resistant to effective satire, mainly because the movies themselves already go so far over the top. (After Jason goes to space, where else can you possibly go?) Arriving amidst some monster film festival buzz, Tucker & Dale vs.! Evil scores big laughs by slyly inverting the formula, ca! sting th e standard backwoods maniacs as bewildered everymen surrounded by accident-prone teens. While it may basically be a one-joke movie, it sustains that joke for a remarkably long time. Kicking off with an effective Blair Witch jab, the story follows Tucker (Alan Tudyk) and Dale (Tyler Labine), two good-natured good ol' boys with aims of fixing up their rickety cabin in the woods into a vacation home. Before they've emptied their first six-pack, they find themselves besieged by a group of stereotypical college kids who start dying in increasingly bizarre ways around them. As the bodies stack like cordwood, the duo's obliviousness only grows. First-time director-cowriter Eli Craig clearly knows his subject material well, trotting out the skinny-dipping coeds and conveniently placed sharp implements with relish, particularly with a wood chipper that really should have received a supporting actor credit. Clever as the concept is, though, it wouldn't stretch nearly as far wit! hout the performances, most notably Labine as a Bigfootish idiot savant and 30 Rock's Katrina Bowden as a Final Girl fully aware of the situation's absurdity. Although the invention may sputter at times, Tucker & Dale provides enough amiable chuckles and ridiculous gore to satisfy even the snootiest genre fan. For the sequel, can we get them near a rocket? --Andrew WrightCaptain America leads the fight for freedom in the action-packed blockbuster starring Chris Evans as the ultimate weapon against evil! When a terrifying force threatens everyone across the globe, the world’s greatest soldier wages war on the evil HYDRA organization, led by the villainous Red Skull (Hugo Weaving, The Matrix). Critics and audiences alike salute Captain America: The First Avenger as “pure excitement, pure action, and pure fun!” â€" Bryan Erdy CBS-TVThe Marvel Comics superhero Captain America was born of World War II, so if you're going to do th! e origin story in a movie you'd better set it in the 1940s. Bu! t how, t hen, to reconcile that hero with the 21st-century mega-blockbuster The Avengers, a 2012 summit meeting of the Marvel giants, where Captain America joins Iron Man and the Incredible Hulk and other super pals? Stick around, and we'll get to that. In 1943, a sawed-off (but gung-ho) military reject named Steve Rogers is enlisted in a super-secret experiment masterminded by adorable scientist Stanley Tucci and skeptical military bigwig Tommy Lee Jones. Rogers emerges, taller and sporting greatly expanded pectoral muscles, along with a keen ability to bounce back from injury. In both sections Rogers is played by Chris Evans, whose sly humor makes him a good choice for the otherwise stalwart Cap. (Benjamin Button-esque effects create the shrinky Rogers, with Evans's head attached.) The film comes up with a viable explanation for the red-white-and-blue suit 'n' shield--Rogers is initially trotted out as a war bonds fundraiser, in costume--and a rousing first combat mis! sion for our hero, who finally gets fed up with being a poster boy. Director Joe Johnston (The Wolfman) makes a lot of pretty pictures along the way, although the war action goes generic for a while and the climax feels a little rushed. Kudos to Hugo Weaving, who makes his Nazi villain a grand adversary (with, if the ear doesn't lie, an imitation of Werner Herzog's accent). If most of the movie is enjoyable, the final 15 minutes or so reveals a curious weakness in the overall design: because Captain America needs to pop up in The Avengers, the resolution of the 1943 story line must include a bridge to the 21st century, which makes for some tortured (and unsatisfying) plot developments. Nevertheless: that shield is really cool. --Robert Horton

Agent Cody Banks 2: Destination London Poster Movie 11x17 Frankie Muniz Anthony Anderson

• Approx. Size: 11 x 17 Inches - 28cm x 44cm
• Size is provided by the manufacturer and may not be exact
• The Amazon image in this listing is a digital scan of the poster that you will receive
• Agent Cody Banks 2: Destination London 11 x 17 Inches Style A Mini Poster
• Packaged with care and shipped in sturdy reinforced packing material

Features include:

•MPAA Rating: PG
•Format: DVD
•Runtime: 202 minutes
Frankie Muniz (Big Fat Liar, Malcolm in the Middle ) is up to his backpack in intrigue as secret agent Cody Banks in this awesome action-adventure co-starring Anthony Anderson (Kangaroo Jack) and Hannah Spearritt ('s Club 7 ). Stacked with new gadgets, slick special effects and wicked chase scenes, Agent Cody Banks 2: Destination London is a topnotch, top-secret sequel'that's licensed to thrill! Foreign affairs get kid-tes! ted, when Agent Cody Banks heads to England to catch an evil scientist who's stolen a mind-control device for his plot to rule the world! Posing as a student at an elite boarding school, the CIA's most junior agent teams up with London's hottest spy (Spearritt) to stop this madman from turning world leaders into zombies!The dark, bushy eyebrows of Frankie Muniz star in Agent Cody Banks 2: Destination London, ably supported by the natty facial hair of Anthony Anderson (Kangaroo Jack) and the freckled chipmunk cheeks of British pop starlet Hannah Spearritt. Teenage secret agent Cody Banks (Muniz, Malcolm in the Middle) must track down a former instructor who's gone rogue with a mind-control microchip. Banks masquerades as a musical prodigy to get close to a snobby, egocentric scientist in London who's the only person who can make the microchip work. Along the way Banks hooks up with a demoted agent (Anderson) and a cute-as-a-bug Scotland Yard operative (S! pearritt). Flimsy, disposable, but only occasionally insulting! , Cod y Banks 2 will most likely entertain fans of the first movie. Also featuring supporting stalwarts Cynthia Stevenson (The Player, Happiness), Anna Chancellor (Four Weddings and a Funeral), and Keith David (There's Something About Mary). --Bret FetzerAgent Cody Banks 2: Destination London 27x40 Double Sided Original Movie PosterHephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Spy comedy films.Frankie Muniz (Big Fat Liar, Malcolm in the Middle ) is up! to his backpack in intrigue as secret agent Cody Banks in this awesome action-adventure co-starring Anthony Anderson (Kangaroo Jack) and Hannah Spearritt ('s Club 7 ). Stacked with new gadgets, slick special effects and wicked chase scenes, Agent Cody Banks 2: Destination London is a topnotch, top-secret sequel'that's licensed to thrill! Foreign affairs get kid-tested, when Agent Cody Banks heads to England to catch an evil scientist who's stolen a mind-control device for his plot to rule the world! Posing as a student at an elite boarding school, the CIA's most junior agent teams up with London's hottest spy (Spearritt) to stop this madman from turning world leaders into zombies!The dark, bushy eyebrows of Frankie Muniz star in Agent Cody Banks 2: Destination London, ably supported by the natty facial hair of Anthony Anderson (Kangaroo Jack) and the freckled chipmunk cheeks of British pop starlet Hannah Spearritt. Teenage secret agent Cody Banks (Muniz, ! Malcolm in the Middle) must track down a former instructor! who's g one rogue with a mind-control microchip. Banks masquerades as a musical prodigy to get close to a snobby, egocentric scientist in London who's the only person who can make the microchip work. Along the way Banks hooks up with a demoted agent (Anderson) and a cute-as-a-bug Scotland Yard operative (Spearritt). Flimsy, disposable, but only occasionally insulting, Cody Banks 2 will most likely entertain fans of the first movie. Also featuring supporting stalwarts Cynthia Stevenson (The Player, Happiness), Anna Chancellor (Four Weddings and a Funeral), and Keith David (There's Something About Mary). --Bret FetzerFrankie Muniz (Big Fat Liar, Malcolm in the Middle ) is up to his backpack in intrigue as secret agent Cody Banks in this awesome action-adventure co-starring Anthony Anderson (Kangaroo Jack) and Hannah Spearritt ('s Club 7 ). Stacked with new gadgets, slick special effects and wicked chase scenes, Agent Cody Banks 2: Destination! London is a topnotch, top-secret sequel'that's licensed to thrill! Foreign affairs get kid-tested, when Agent Cody Banks heads to England to catch an evil scientist who's stolen a mind-control device for his plot to rule the world! Posing as a student at an elite boarding school, the CIA's most junior agent teams up with London's hottest spy (Spearritt) to stop this madman from turning world leaders into zombies!The dark, bushy eyebrows of Frankie Muniz star in Agent Cody Banks 2: Destination London, ably supported by the natty facial hair of Anthony Anderson (Kangaroo Jack) and the freckled chipmunk cheeks of British pop starlet Hannah Spearritt. Teenage secret agent Cody Banks (Muniz, Malcolm in the Middle) must track down a former instructor who's gone rogue with a mind-control microchip. Banks masquerades as a musical prodigy to get close to a snobby, egocentric scientist in London who's the only person who can make the microchip work. Along the w! ay Banks hooks up with a demoted agent (Anderson) and a cute-a! s-a-bug Scotland Yard operative (Spearritt). Flimsy, disposable, but only occasionally insulting, Cody Banks 2 will most likely entertain fans of the first movie. Also featuring supporting stalwarts Cynthia Stevenson (The Player, Happiness), Anna Chancellor (Four Weddings and a Funeral), and Keith David (There's Something About Mary). --Bret FetzerAgent Cody Banks 2: Destination London reproduction Approx. Size: 11 x 17 Inches - 28cm x 44cm Style A mini poster print

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