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Diane Lane and Richard Gere team up for the third time (after COTTON CLUB and UNFAITHFUL) for this three-hankie romance based on a Nicholas Sparks novel. Adrienne Willis (Lane) feels her life falling apart around her: her unfaithful husband (Christopher Meloni, LAW & ORDER: SVU) is begging to come home, and her teenage daughter (Mae Whitman, HOPE FLOATS) can't stand to be around her. When her friend (Viola Davis, ANTWONE FISHER) asks her to watch her bed and breakfast in the picturesque town of Rodanthe, Adrienne leaps at the chance to get away. But since it's late in the season, there's only one guest: the handsome Dr. Paul Flanner (Gere), who is quiet about his reason for coming to the town. Driven together by a powerful hurricane, Adrienne and Paul find love and comfort in each other's arms. Cinematic romances between grown-ups are rare, and this finely cast drama will appeal to people who love films like THE BRIDGES OF MADISON COUNTY and other adaptations of Sparks's books, particularly MESSAGE IN A BOTTLE. Gere and Lane are both veterans (who look none the worse for wear), and they have perfected starring in relationship-driven films. But the North Carolina town of Rodanthe deserves plenty of praise as well, since it takes a starring role. Director of photography Affonso Beato (a frequent collaborator with Pedro Almodovar) shoots the beautiful beaches and the welcoming inn with such affection that it's hard not to see it as the perfect place to fall in love.

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Diane Lane and Richard Gere team up for the third time (after COTTON CLUB and UNFAITHFUL) for this three-hankie romance based on a Nicholas Sparks novel. Adrienne Willis (Lane) feels her life falling apart around her: her unfaithful husband (Christopher Meloni, LAW & ORDER: SVU) is begging to come home, and her teenage daughter (Mae Whitman, HOPE FLOATS) can't stand to be around her. When her friend (Viola Davis, ANTWONE FISHER) asks her to watch her bed and breakfast in the picturesque town of Rodanthe, Adrienne leaps at the chance to get away. But since it's late in the season, there's only one guest: the handsome Dr. Paul Flanner (Gere), who is quiet about his reason for coming to the town. Driven together by a powerful hurricane, Adrienne and Paul find love and comfort in each other's arms. Cinematic romances between grown-ups are rare, and this finely cast drama will appeal to people who love films like THE BRIDGES OF MADISON COUNTY and other adaptations of Sparks's books, particularly MESSAGE IN A BOTTLE. Gere and Lane are both veterans (who look none the worse for wear), and they have perfected starring in relationship-driven films. But the North Carolina town of Rodanthe deserves plenty of praise as well, since it takes a starring role. Director of photography Affonso Beato (a frequent collaborator with Pedro Almodovar) shoots the beautiful beaches and the welcoming inn with such affection that it's hard not to see it as the perfect place to fall in love.

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Oliver Stone's hard-hitting look at the adrenaline-fueled world of pro football stars Al Pacino as Miama Sharks coach Tony D'Amato. Having just lost his star quarterback, Jack Rooney (Dennis Quaid), he's forced to use the erratic Willie Beamen (Jamie Foxx) off the bench, hoping he can resuscitate his team, which is floundering on the field and in attendance figures. If not, Christina Pagniacci (Cameron Diaz), the team's new owner, may be drop-kicking him to a new destination.

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While nearly all Will Ferrell's films are enjoyable on some level, they tend to fire on all cylinders when Adam McKay is involved. McKay co-wrote and directed ANCHORMAN: THE LEGEND OF RON BURGUNDY and TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, two of Ferrell's most popular and consummately hilarious films. McKay reteamed with not only Ferrell for STEP BROTHERS, but also Ferrell's co-star in TALLADEGA NIGHTS, John C. Reilly (who has steadily proven himself to be one of Hollywood's most versatile actors); and though STEP BROTHERS may be the most threadbare of the three movies on which the duo have collaborated, it's arguably their best. The plot is about as simple as they come: Brennan Huff (Ferrell) and Dale Doback (Reilly) are deadbeat man-children thrown together when the single parents with whom they live marry. The two initially despise one another, but become fast friends over a shared love of ninjas, COPS, porno mags, and the comforts of living in the fantasy world of a prolonged adolescence. What makes STEPBROTHERS so much fun, however, has nothing to do with story or script; rather, it's McKay's foresight to step back and let Ferrell and Reilly run wild. The duo kick and punch, fart and burp, laugh and cry, yet somehow elevate such banalities to a level of grotesque poetry, hitting upon what feels like an entirely new comedic language. When the pair act like children, they are not presenting themselves as immature adults, but are literally acting like children, meticulously duplicating everything from the fears and concerns to the speech patterns and awkward physicality of children. It sounds simple enough, but it requires a dexterity and sense of timing and delivery that is actually quite amazing. In the end, STEP BROTHERS is really nothing more than an absurd comedy; then again, isn't that what they called WAITING FOR GODOT?

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This geeky 1999 office comedy starring Ron Livingston as a corporate Everyman instantly gained cult status for its unabashed caricatures of office personalities, and its theme of corporate sabotage. Peter Gibbons (Livingston) is a typical middle manager living a mundane life amid a gray maze of cubicles. Everything in his life reeks of mediocrity, from the mid-size car he drives to the chain restaurant, Chotchky's (read: TGI Friday's), where he eats lunch every day. Even his apartment, a cookie-cutter duplex with walls so thin that he can chat with his next-door neighborhood through the plaster, is totally lacking in personality. The company where he works is peppered with ambitionless drones who blindly comply with the condescending requests made of them by their Porsche-driving CEO (Gary Cole). Then one day, Gibbons snaps. As a team of experts is brought in to enact large-scale layoffs, Gibbons simply stops trying and adopts an attitude of total disinterest. That is, he's only interested in dating the blond waitress (Jennifer Anniston) at the local restaurant, and putting in place a devilish scheme for some corporate payback. OFFICE SPACE's writer-director Mike Judge (BEAVIS AND BUTT-HEAD), scares up some A-list laughs with this film, while also making an excellent parody of corporate culture. Released just as the dot-com boom began to go bust, with massive trends in corporate downsizing on the horizon, it could not have been better timed. Thus, while viewers will delight in the absurdity of the ultimate office loser Milton (Stephen Root), they will also identify with some frighteningly realistic aspects of the film.

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THE LOST WORLD: JURASSIC PARK is director Steven Spielberg's sequel to his original dinosaur thriller. Dr. Ian Malcolm (Jeff Goldblum) returns for more dino-horror when, four years after the disaster at the would-be amusement park, another expedition is mounted by millionaire John Hammond (Richard Attenborough). To document the natural behavior of the beasts at a mysterious Site B, Hammond sends a team comprising Malcolm; Malcolm's girlfriend, paleontologist Dr. Sarah Harding (Julianne Moore); and a wildlife videographer (Vince Vaughn). They face adversity in the form of a less-than-scrupulous big-game hunter (Pete Postlethwaite) and, of course, the terrible lizards themselves. The film is loosely based on Michael Crichton's novel THE LOST WORLD, which was named after the 1912 Sir Arthur Conan Doyle novel of the same name. Spielberg proved his determination to alternate making socially conscious films with directing movies of sheer entertainment value; his prior film to THE LOST WORLD was SCHINDLER'S LIST, and he followed the dinosaur adventure with AMISTAD.

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Diane Lane and Richard Gere team up for the third time (after COTTON CLUB and UNFAITHFUL) for this three-hankie romance based on a Nicholas Sparks novel. Adrienne Willis (Lane) feels her life falling apart around her: her unfaithful husband (Christopher Meloni, LAW & ORDER: SVU) is begging to come home, and her teenage daughter (Mae Whitman, HOPE FLOATS) can't stand to be around her. When her friend (Viola Davis, ANTWONE FISHER) asks her to watch her bed and breakfast in the picturesque town of Rodanthe, Adrienne leaps at the chance to get away. But since it's late in the season, there's only one guest: the handsome Dr. Paul Flanner (Gere), who is quiet about his reason for coming to the town. Driven together by a powerful hurricane, Adrienne and Paul find love and comfort in each other's arms. Cinematic romances between grown-ups are rare, and this finely cast drama will appeal to people who love films like THE BRIDGES OF MADISON COUNTY and other adaptations of Sparks's books, particularly MESSAGE IN A BOTTLE. Gere and Lane are both veterans (who look none the worse for wear), and they have perfected starring in relationship-driven films. But the North Carolina town of Rodanthe deserves plenty of praise as well, since it takes a starring role. Director of photography Affonso Beato (a frequent collaborator with Pedro Almodovar) shoots the beautiful beaches and the welcoming inn with such affection that it's hard not to see it as the perfect place to fall in love.

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Even for Pixar, this might be a first: an animated film that contains not only a fully realized world as photorealistic as it is teeming with wonder, but also the Gargantuan themes and visuals of 2001: A SPACE ODYSSEY, the kind of stripped-down sad-clown pathos reserved for classic Buster Keaton comedies, and one of the most moving love stories in a long time. Director Andrew Stanton kicked up the visual acuity of an already-stellar Pixar Studios in 2003 with his reflective, refractive, color-shimmery realization of FINDING NEMO's oceanic world, which genuinely felt as though it spanned the entire earth. Now, with WALL-E, Stanton replaces an estranged journeyer of an apprehensively fishy disposition with a curious and love-struck robotic one, allowing the quest for eternal love to extend from a desolate, dust-covered, palpably polluted future Earth and into an even more mysterious abyss: the far reaches of outer space. With virtually no dialogue, WALL-E's neatly contained, eerily vaudevillian first act introduces the tragic robot of the title. Whirring amid dilapidated skyscrapers and equally tall compacted trash heaps, he's the last living thing on Earth (aside from a little cockroach friend). WALL-E has developed a tender and inquisitive personality doing what he was built to do--allocate and dispose of human waste--day in and day out for the past 700 years simply because no one turned him off when the human race left the now-hostile planet. Soon though, the directive-oriented automaton Eve comes crashing into WALL-E's life from above, immediately becoming the object of his infatuation. At the drop of a hat, the little guy follows her back into the dangerous unknown, where the sight of two robots gliding through the cosmic ether, dancing via fire-extinguisher propulsion, joins the many memorable moments of a deceptively simple, expansively romantic story.

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Though it is one of America's most popular sporting events, the association of NASCAR with uneducated, backwards rednecks seems cemented into the American consciousness. So the brilliant comedy TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, is not just a sidesplitting series of slapstick pratfalls and over-the-top accents, but a lens into an important part of American culture. Comic sensation Will Ferrell (SATURDAY NIGHT LIVE, ANCHORMAN) plays the title character, Ricky Bobby, a figure who is at once laughably ridiculous, infuriating, and loveable. Ricky Bobby, with his bleached-blond wife, cute sons Walker and Texas Ranger, and dim-bulb sidekick Cal (award-winning actor John C. Reilly, flexing his considerable comedic muscle), has got it made. He is NASCAR's most popular driver, and nearly every aspect of his life is endorsed by a recognizable product. Yet his racetrack kingdom is not unshakeable: two formidable opponents, his unpleasable father, Reese (Gary Cole), and a flashy new opponent, the openly gay French import Jean (played by a hilarious Sasha Baron Cohen, known to millions as Ali G), threaten to hijack his crown and expose his vulnerabilities. Though many of the jokes are easy laughs (having Ferrell run around shirtless is a guaranteed guffaw-fest), the script (co-written by Farrell and Adam McKay) is nuanced and intelligent, lending its characters much more sympathy and complexity than dumber comedies are want to do. And every performer--from Ferrell to Amy Adams (as Susan, Bobby's fawning assistant)--tackles his or her part with joy and relish. A knee-slapper with smarts and savvy, TALLADEGA NIGHTS ensures Ferrell's position as one of comedy's shining talents.

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After directing the frenzied CRANK, Mark Neveldine and Brian Taylor helm another adrenaline-fueled film with this thriller. 300's Gerard Butler stars as Kable, a man living in a near-future dystopia driven by online games. Kable is the world's best player at its biggest game, where players take control of real people, but the competition really begins when he tries to fight the system itself.

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Though it is one of America's most popular sporting events, the association of NASCAR with uneducated, backwards rednecks seems cemented into the American consciousness. So the brilliant comedy TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, is not just a sidesplitting series of slapstick pratfalls and over-the-top accents, but a lens into an important part of American culture. Comic sensation Will Ferrell (SATURDAY NIGHT LIVE, ANCHORMAN) plays the title character, Ricky Bobby, a figure who is at once laughably ridiculous, infuriating, and loveable. Ricky Bobby, with his bleached-blond wife, cute sons Walker and Texas Ranger, and dim-bulb sidekick Cal (award-winning actor John C. Reilly, flexing his considerable comedic muscle), has got it made. He is NASCAR's most popular driver, and nearly every aspect of his life is endorsed by a recognizable product. Yet his racetrack kingdom is not unshakeable: two formidable opponents, his unpleasable father, Reese (Gary Cole), and a flashy new opponent, the openly gay French import Jean (played by a hilarious Sasha Baron Cohen, known to millions as Ali G), threaten to hijack his crown and expose his vulnerabilities. Though many of the jokes are easy laughs (having Ferrell run around shirtless is a guaranteed guffaw-fest), the script (co-written by Farrell and Adam McKay) is nuanced and intelligent, lending its characters much more sympathy and complexity than dumber comedies are want to do. And every performer--from Ferrell to Amy Adams (as Susan, Bobby's fawning assistant)--tackles his or her part with joy and relish. A knee-slapper with smarts and savvy, TALLADEGA NIGHTS ensures Ferrell's position as one of comedy's shining talents.

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$42
 
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DVD+VHS Recorder with Versatile Compatible Formats including DivX(R), featuring ATSC Digital/NTSC Analog Tuners, HDMI Output with 1080p/720p Up-Conversion (DVD/VHS),
 
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Designed for supervisors and managers to help reduce liability. Includes exposure due to slips falls food illnesses foreign material in food third-party liability investigation and reporting and more. Trains supervisors and managers in handling customer c