The legends of the WWE (from the "WWF" days) are captured in all their mat-slammin', bone-crunchin' glory as the WWE Classic Superstars collection continues with more of your all-time favorite champions of the ring! Kevin Sullivan measures 7" tall.
Stephen Spignesi, the world's leading expert on Stephen King (Enertainment Weekly) ranks 101 greatest creations of the man he calls "our greatest living author." Working from a body of King's work numbering more than 550 individual creations, Spignesi lists all of King's writings in every genre and then determines the top 101. Each chosen work is synopsized and reviewed.
The Essential Stephen King provides an unbiased, uncompromising review of King's work by an acknowledged King authority. As such, it is a must for all serious and casual Stephen King fans as well as all lovers of superb contemporary literature.
Customer Review: Not awful, but not great.
As another reviewer stated, this work is great for a casual or new fan, wanting to learn more about individual S.K. works and whether he or she might like to read them. For serious fans such as myself, this work is just one glaring error after another, coupled with the lackluster opinions of a self-proclaimed super-fan. In particular, the numerous factual errors that I have found in this book are at the very least distracting, and make me question Spignesi's assessment of S.K.'s writings, especially since he can't seem to keep his literary facts straight! For example, in his entry on "Bag of Bones," Spignesi asserts that Mattie Devore, one of the main characters, is divorced. She is actually widowed, and this facet of this story is important. Another error can be found in Spignesi's entry on "The Dead Zone" (a personal favorite of mine). In this work, Greg Stillson is a third-party candidate for the House of Representatives, not the U.S. presidency! This seemingly minor amount of power initially courted by Stillson is vital to the story. These are just two of many errors, both literary and grammatical, that I found when I read this work. By all means, check it out at the library or borrow it from a friend if you want to know which S.K. book to start with (or just ask an S.K. fan...there are lots of us!).
Customer Review: garbage
The idea for this book isn't a bad one: the ranking of the Top 100 of all Stephen King's works. However, in order for such a conceit to mean anything, there has to be some thought, skill, and insight involved on the part of the ranker. Spignesi showcases none of these qualities. Instead, what you are left with is something that goes no deeper than you might find on any fan-based website. Spignesi's knowledge of King's work is admittedly considerable, but in order for a work of literary criticism -- which this is, no matter how poorly-thought-out and poorly-presented -- to be worth reading, it has to cut a bit deeper than mere knowledge. There has to be insight. Perhaps Spignesi has such insights, but if so, he has no interest in demonstrating it in this book: his typical mode is to simply list what he liked in each work, and usually this consists of saying that he liked the characters, or something similarly facile. Spignesi himself is a TERRIBLE writer. This book is peppered with poor writing, with the misuse (or nonuse) of commas being especially prevalent. Why should we accept the critical judgment of a writer who himself cannot write? There is an attempt to make it plain that the idea behind this book is for it to stimulate discussion about King's works. Well, really, the best way to do that is to simply read them for yourself. You don't need a writer who ought to properly be confined to fanzines to tell you what King's best works are. And if you don't need that, then you don't need this book. Thank God, it was given to me as a gift; no dollars of my own were wasted on this sad excuse for criticism.
The original television holiday classics now are available with deluxe packaging and a 12-song music CD with music from the all-time favorite television specials known the world over! "Frosty the Snowman:" When Frosty the Snowman comes to life, he must weather a storm of adventures and the dastardly plans of an evil magician before he can find safety and happiness at the North Pole.
"Frosty Returns:" This is the adventure of a little girl named Holly and her very special friend, Frosty the Snowman. Holly has to convince the people of Beansboro to save the magical winter dust--and Frosty--when a power-hungry tycoon invents a product that will eliminate snow. "Rudolph the Red-Nosed Reindeer:" Christmas has been cancelled! Or, it will be if Santa Claus can't find a way to guide his sleigh through a fierce blizzard. Rudolph to the rescue!
"Santa Claus is Comin' to Town:" A cheery, delightful story tells how Kris Kringle got his start as the world's most famous gift giver by struggling to bring toys and happiness to the children of Sombertown.
"The Little Drummer Boy:" In this touching Christmas classic, an evil man kidnaps an orphaned drummer boy. After he escapes, he searches for his camel and finds him at the birthplace of the baby Jesus. Having no gift for him, he gives the only gift he has--a song on his drum.
All five titles are on three discs and contain Spanish-language tracks.
Customer Review: Always will be a classic for young and old
No matter what age you are you will enjoy these classics. I grew up watching these on tv and they still hold up today, unbelievable the time it must have took to do the animations for these and they still look great!
Customer Review: Old fashion Christmas
All the videos in this set are original cut and just as fun as when I was kid. Brought back many great memories of the past Christmas seasons.
An awesome thermal for any classic thriller lover! Available up to XL!
Customer Review: DVD please!
Savannah is the only child of a wealthy politician, Richard Driscoll (Chris Robinson) who is more concerned with his image and career than with his family. When only the maid shares Savannahs birthday cake, she decides to run away. She hides in her aunts car that is stolen that next day by two bungling criminals (Mark Miller and Donovan Scott) who are on the loose. Surprised at having Savannah in the car, the criminals try to decide what to do with her. Savannah refuses to tell them her name or where she lives. So, they have no choice but to take her back to their hideout. Savannah's disappearance is in the newspapers and a $100,000 reward is offered for her safe return. The criminals decide to keep her a little longer so they can figure out how to collect the money and not be caught or charged with kidnapping. A unique friend ship emerges as the three get to know each other as a hard-nosed detective (Peter Graves) tries to find her. In a final showdown, Savannah expresses her love for the two criminals who showed her love and friendship as her father looks on, embarrassed by being upstaged by these two criminals. 
Long lost until 1995, Richard III (1912) was donated to the AFI by Oregon-based collector William Buffum, who preserved the nitrate reels in his basement from 1960 onwards. The film has survived in near mint condition by Buffum's meticulous yearly rewinding each reel to guard against sticking and to look for signs of deterioration. The Institute when restored the fading tints with funding support form the Joseph H. Kanter Foundation and commissioned Italian film composer Ennio Morricone (The Good the Bad and the Ugly, The Mission, The Untouchables) to score the silent tragedy.With Frederick Warde as Richard, James Keane's Richard III is the classic interpretation of the rise and demise of the villainous king. Shot for $30,000, at the time a huge budget, Richard III is the first Shakespearean feature film ever made. There are many interior castle scenes recreated in the studio, but there is also on-location cinematography shot in Westchester County and the Bronx, which makes for a film which interestingly shifts between expressionism and realism.
The discovery of Richard III is one of the most significant of thousands of historic film finds made by AFI over the last 30 years. AFI has also been a major collaborator in several of the most prestigious film restoration projections of the last 10 years, including Lawrence of Arabia, My Fair Lady, and Vertigo. In another of its most widely-recognized film preservation projects, AFI spearheaded the decade-long worldwide search to recover lost footage from Frank Capra's classic film Lost Horizon and supervised the film's subsequent restoration.
The great challenge and dream for any actor, Shakespeare's Richard III is the ultimate exercise in expressing the breadth of human emotion. The portrait of the cold-hearted King, from his bloodlust for power to his internal doubt, has such nuance and subtly that any leading man would find it daunting.
From Laurence Olivier's classic Technicolor widescreen Richard III (1954), to Al Pacino's exploration of an actor's will and desire of playing the villain-king in his documentary Looking for Richard (1996), Shakespeare's Richard III has seen many an incarnation, including Chilean auteur Raoul Ruiz's 1986 version and Richard Loncraine's highly original 1995 interpretation with Ian McKellen as the lead.
Customer Review: A cinematic and historical treasure
With so many of the earliest films lost to us forever, this 1912 production of William Shakespeare's Richard III is an absolute treasure, both historically and cinematically. It is, among other things, the oldest surviving American feature film, with the original five-reel production running just under a full hour. Not only that, the quality of this restored edition is absolutely amazing - much better than even most 1930s silent films I've seen. The lion's share of the thanks for this belongs to former projectioner and film collector William Buffum, who lovingly preserved the original nitrate film for decades before turning it over to the American Film Institute in 1996. It should be noted that nitrate films such as this were and are very unstable, highly flammable and prone to destructive deterioration (which is exactly why so many of these early films simply no longer exist). The restored tints differ somewhat among individual scenes, but every aspect of the film image, from actors to background props, is sharply delineated. I believe the intertitles may have been recreated, but everything else is just the way audiences saw the film almost a century ago - probably even better, actually. Obviously, it is difficult to capture the true essence of a Shakespearian drama with a complete absence of dialogue, but this production certainly captures the spirit of the Bard's original play - the whole of it, not merely a particular act or two. It helps to have an accomplished Shakespearian actor playing the lead, and that is exactly what we have here in leading man Frederick Warde, an English tragedian who enjoyed a long career as an actor as well as a lecturer on Shakespeare after coming to America in 1871. A youthful 61 in 1912, his performance in Richard III offers viewers a rare window into the acting style of late 19th century drama. Director James Keane also takes a turn in front of the camera as Richard's nemesis, Richmond - I'm sure many a director has wanted to slay one of his stars at one point or another, but Keane actually does it, bringing to an end Richard's ill-gotten reign. Before he became King Richard III, the man who would be king was the Duke of Gloster (the obviously Americanized version of Gloucester used in the film), a crooked-back man who schemes and kills his way to the crown. According to the information on the back of the DVD (I must admit I have not yet read Shakespeare's play), he supposedly earns a measure of sentiment from the audience in the final act, but I never warmed up to him at all. Having slain all of his enemies (including the two young princes born of the murdered king), the fact that he goes to war over the love of a fair maiden doesn't really rehabilitate him in my book. He is in fact so villainess a creature that a prologue and epilogue were added showing Warde in his true, gentlemanly form bowing to the audience. A new original score by composer Ennio Morricone accompanies the film. I can't say I particularly care for the music (early on, I think it sounds like something written by John Cage's cat), but it does finish strongly in the film's dramatic conclusion. The DVD also includes an informative essay by Douglas Brode and a 17-minute documentary called Rediscovering Richard: Looking Back at a Forgotten Classic. The first half of the documentary is excellent, featuring an interview with William Buffum and a comparative glance at several other cinematic productions from the early twentieth century. From there, though, it morphs into a look at the cinematic history of Richard III up to the present day rather than going into further detail on the making of this particular movie. This early production of Richard III is pretty much invaluable as both entertainment and history. With its static shots of each scene, it doesn't push the envelope of early film techniques the way an early D.W. Griffith classic might, but it does mix make use of a huge $30,000 budget to include on-location shots from the New York countryside alongside standard in-studio shots, frame Richard's portentous dream outside Bosworth Field with a little double exposure magic, and fill the crowd scenes with plenty of extras. Basically, Richard III is an American treasure, and you can't help but be blown away by the remarkable clarity of such an early, feature-length film.
Customer Review: The first feature is also a fine feature
Richard III would be an important film even if it were barely visible and of poor quality as a film. The reason for this is that it was made in 1912 and is the earliest surviving American feature film. However, Richard III turns out to be a remarkably entertaining film with good production values, fine acting and a well-told story. It is thus not merely of historical value, but also of value simply because it is a good film. The film starts and finishes with Frederick Warde, the actor who plays Richard, taking a bow before the audience. He appears in modern dress looking congenial and thus distancing himself from the character he plays. This device also emphasises that we are watching a play and thus anticipates the framing device used in Henry V (1945). The story of Richard III is conveyed with brief titles describing the action of the scene. There are no dialogue titles as such. Thus some of Shakespeare's most famous lines are not even hinted at. In this film there is no sign of Richard saying `Now is the winter of our discontent', and perhaps more surprisingly, because it could easily have been filmed, his despairing cry of `A horse! A horse! My kingdom for a horse!' Nevertheless the film on the whole follows Shakespeare's play quite closely. Some of the detail may be lost but this is still clearly Shakespeare. The acting in the film is different from the style of later silents, not least because the actors do not appear in close up. It is thus not as subtle as later acting which could make use of the eyes and close ups of facial expressions. Nevertheless Warde's performance especially is good, conveying the menace of Richard without descending into caricature. The acting is helped enormously by the amount of effort and money spent on lavish sets and costumes. The film even has a full size galleon. The quality of the surviving print is first rate. Richard III looks better than many silent films from the twenties. The print is tinted using mainly pinks and blues and although at times the image is somewhat faded for the most part it is wonderfully sharp and clear. The film is enhanced by a moody score composed by Ennio Morricone. The DVD includes a short documentary Rediscovering Richard which is mainly of interest because it introduces the collector William Buffum who preserved the print of Richard III. Everyone who is interested in film should thank this man, for without him a fine film from 1912 would certainly have been lost for ever.
Customer Review: Readers Digest CLASSIC FAIRY TALES
Studio: Warner Home Video Release Date: 03/06/2007 Run time: 126 minutes Rating: Nr 
This black t-shirt features the album cover art from the Beatles 1970 LET IT BE in full color. Front of shirt has the four band members portraits during performances from their psychedelic era, in a square design, with 'Let It Be' printed above in white. Back of shirt is now plain, back design is no longer printed. 100% pre-shrunk cotton, soft and comfortable. Bright high-quality silkscreen, won't fade or crack. Celebrate the awesome music of their incredible album, with this replica of the Let It Be cover. Great gift for the Beatles fan. Available in big mens and plus sizes to 4xl XXXX-Large. 
Customer Review: Spartacus and the Ten Gladiators
Customer Review: A classic for children of all ages
Customer Review: One of The Best War Novels ever Written
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