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Product Description
Looking for the best selection of Costumes for any occasion -then you’ve come to the right place. Choose this item made by the premier manufacturer for costumes, props, and theatrical wear. We supply ice shows, circuses, TV, amusement parks, Broadway, and almost every major Hollywood movie studio with all their theatrical needs. From funny masks and accessories, to unique life like mascot and animal costumes we have them all. Satisfaction Ensured. Black plastic fram… More >>

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• Doll measured approximately 12 inch in height
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Product Description
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Barbie Hollywood Movie Star Collection a Day in the Sun Barbie: Third in a Series

A challenge in life is really normal, in every step of the way there is always a thought that should be noted and learned. So let the inspirational thoughts of Eric Schiffer be a way for you to a better life in the future because the intention of this thought is to help people to be progressive in every step of their way.

There are some movies which depict real life characters and there are others which have larger than life characters. A tale, well told is certainly bound to attract movie lovers. Talking about Hollywood movies, they have become a favorite among cinema buffs across the globe. They are loved because of their interesting scripts. Excellent performances of the actors and the ability to speculate the viewers choice. It is a known fact that many filmmakers look up to Hollywood for inspiration. There are several Upcoming Hollywood Movies lined up for release to entertain the audience.Some of them are ‘Flame & Citron’, ‘Alliens in the Attic’, ‘Funny People’, ‘Thirst’, ‘Lorna’s Silence’, ‘The Cove’ and many more.

One of the Hollywood new releases is ‘Adam’, directed and written by ‘Max Mayer’. The star cast comprises of Hugh Dancy as ‘Adam Raki’ and Rose Byrne as’ Beth Buchwald in the main lead.. The film has already marked it’s presence in different film festivals. At the ‘Method Fest’, it has already won an award for best feature(Max Mayer0. It has also won a ‘Alfred P Sloan feature film prize ‘at ‘Sundance Film Festival’ and a nomination for Grand Jury Prize. It is a story of two strangers Beth and Adam, how they form a relationship and portrayal of their romance.

The main reason for such a huge number of releases simultaneously is the growing mall culture. They have made movie watching a comfortable and more enjoyable experience. The main crowd of these movies is the young urban class, who is educated and has enough money at their disposal, to be spent to entertain themselves in style. There are other fun activities one can indulge in, in the beautifully designed malls. One can go for shopping and even grab a meal at the various eating joints in the mall. It is a relaxed exercise altogether-hanging out with friends and even making new ones, as many people throng the place frequently.

Hollywood has given uncountable exciting and interesting flicks and several upcoming Hollywood movies have created raves among the masses. In the coming days, there are many astounding flicks that are going to be released. These include ‘Possession’, ‘Dragonball’, ‘The Caller’, ‘Shuttle’, ‘Crank 2: High Voltage’, ‘Dante 01′, ‘The Burrowers’ and so on. ‘Dragon ball’ is a very exciting film that is both marvellously directed and written by James Wong. Another flick that you can watch on your weekends to pass your time leisurely with friends and relatives is ‘The Caller and Shuttle’. ‘The Caller’ is an ultimate thriller that will keep you hooked till the end. The plot of this brilliant flick involves an energetic business executive that is assisted by a private investigator in order to expose his corporation’s corrupt practises. One would definitely feel extremely thrilled while watching it.

Another Hollywood new releases that are getting lots of attention include ‘X-Men Origins: Wolverine’, ‘Whiteout’ and many more. The ‘X-Men origins : Wolverin’ is a sequel of popular X-Men movie which was a huge blockbuster. The story of this film revolves around the Wolverine who lives a life of a mutant. The wolverine seeks revenge against Victor Creed (who will later become Sabretooth), who he thinks is responsible for the death of his girlfriend and he ultimately ends up going through the mutant Weapon X program. All those people who love watching science fiction, action and thriller must watch this flick and it will be soon released in the theatres.

There are various websites where people will find all the information about the upcoming Hollywood movies like, their date of release, movie plot, genre, actor, actresses and all the other information about the latest flicks are easily found on these websites. By seeing their reviews, the Hollywood lovers can choose the best film to watch. Thus, if you are planning to watch any Hollywood new releases then you will get all the related information on these Websites. So, if you have some free time in the coming weeks, then you can pass your time by watching awesome upcoming Hollywood movies.

It’s 1966 and the young people of Great Britain are less-than-happy with the domestic radio situation, which is almost all talk and news (with a little jazz thrown in for good measure). Into this breach come the offshore pirate radio stations, the most infamous of which is “Radio Rock,” a 24/7 rock-and-roll operation that saturates the airwaves from a ship anchored in international waters and boasts a listening audience north of 20 million. Radio Rock is the brainchild of Quentin (Bill Nighy) and features some of the best known disc jockeys, including an American known only as The Count (Philip Seymour Hoffman); the world-renowned Gavin (Rhys Ifans); Bob (Ralph Brown), the 3-6 a.m. guy whom almost no one has seen; and Simon (Chris O’Dowd), who’s convinced no one likes him. Into this setting comes Carl (Tom Sturridge). After being kicked out of school, Carl’s mom (Emma Thompson) sends him to spend some time on the Radio Rock ship under the watchful eye of his godfather, Quentin. Life aboard the ship is all sex, drugs, and rock-and-roll (although the sex only arrives once every two weeks when a boatload of women arrive for overnight stays). Carl, a virgin, is at something of a disadvantage when it comes to the opposite sex, but various members of the crew set out to help him remedy the situation. Meanwhile, on land, cabinet member Sir Alistair Dormandy (Kenneth Branagh), announces his determination to shut down Radio Rock. Since what they’re doing is breaking no current laws, he hires the unfortunately named Twatt (Jack Davenport) to find a loophole that he can turn into a noose.

For the most part, Pirate Radio, called The Boat that Rocked during its U.K. run, is a series of poorly connected vignettes about life aboard the ship during a time when the social views of the government were at odds with those of its younger citizens. As Dormandy and Twatt seek to stifle Radio Rock, we are shown a cross-section of British people enjoying the music in different settings. Some of the episodes work (such as the visit to the ship by Carl’s mother); others exhibit forced comedy that really isn’t funny (Carl’s attempts to lose his virginity, the “duel” between The Count and Gavin). The characters are mostly likable but none exhibits much depth. The best comedic elements derive from Kenneth Branagh’s satirization of ’60s stuffed shirt politicians. At times, it’s as if he’s channeling John Cleese in the way he sends them up. He also has some great lines about the role of government.

Ultimately, however, Pirate Radio is more about the music than it is about anything else. Hardly a scene goes by without at least one classic rock song being played. There are reportedly about 60 clips (ranging from a few bars to full singles) in the movie, which makes it a pretty comprehensive survey of the music of the era, with artists ranging as far and wide as Dusty Springfield, Herb Alpert, Cream, The Who, Cat Stevens, The Beach Boys, and The Moody Blues. Without such a rich and diverse soundtrack, there’s little doubt that Pirate Radio would have been considerably less endearing and enjoyable. Of the features on Richard Curtis’ resume (he wrote Four Weddings and a Funeral and Bridget Jones’ Diary and wrote and directed Love, Actually), this is arguably the least substantive.

Some of the marketing material is hyping the “based on a true story” aspect of the movie although, in fact, this was always intended to tell the tale of a fictional pirate radio boat. Some aspects are loosely based on historical events and some of the characters are composites of real people, but Pirate Radio should not be mistaken for anything other than a creation of a writer’s imagination. The distributors apparently would like us to believe these people actually existed and Radio Rock occupies an almost mythical position in recent British pop history.

Films with large ensemble casts rarely afford opportunities for individual standout performances, and this is no exception. Bill Nighy is amusing but hardly reaches the heights he scaled for his small role in Love, Actually. Philip Seymour Hoffman is very good in what may be his most limited non-cameo since Twister. Tom Sturridge, who is the closest Pirate Radio has to a lead, is a little on the limp side. Those who appreciate trivia will note that this is the first movie in which both Kenneth Branagh and Emma Thompson have both appeared since the dissolution of their marriage (although they do not share any scenes).

Two obvious cinematic references came to mind while I was watching Pirate Radio. The first, Pump up the Volume, also deals with issues of censorship and free speech over the public airwaves and, as is the case here, it sets up a radio pirate as the champion of a group of individuals whose voices and opinions are often ignored by those in power. The second and more unfortunate reference is Titanic. The scenes with a boat sinking in the North Sea are simply too familiar for the association not to be made.

One of the biggest complaints about the U.K. release of the film was that it’s too long and, even though the American version is shorter by 15 minutes, it still seems like there’s too little content for such a robust running time. Nevertheless, the music is great, the comedy provides occasional laughs, and there’s nothing fundamentally wrong with the movie. Distilled to its essence, it represents a respectable diversion.

In a sense, this is The Blair Witch Project redux. It replaces the “lost in the woods” premise of the surprise 1999 hit with a “trapped in a house” concept. Both movies were made on shoestring budgets, pretend to be constructed from “lost” documentary footage, use the camera to develop a first-person narrative, and – most importantly – rely on the viewer’s imagination to build upon the horror that is only hinted at on screen. The Blair Witch Project is atmosphere incarnate, and a similar claim can be made about Paranormal Activity. Both movies build momentum by playing upon the expectation that something ominous is going to happen. Since our perspective is constrained by what the camera can see, we are not privy to anything that happens beyond its field of view, although we can often hear sounds. Paranormal Activity’s approach is simple but undeniably effective. Still, those who demand blood, gore, and violence from horror films may be bored by what this one offers. It’s a largely cerebral experience, and it could face the kind of backlash that overwhelmed The Blair Witch Project when it exited its phenomenally successful art house run and opened wide into multiplexes. What was embraced by audiences appreciative of the unconventional was rejected by those weaned on mainstream horror. Only time will tell whether Paranormal Activity’s tighter pacing and different setting will allow it to escape a similar fate.

The premise is simple: Katie (Katie Featherstone) and Micah (Micah Sloat), two twenty-somethings who have moved in together, are beginning to suffer symptoms of “a haunting” in their new San Diego house. For Katie, this is nothing new – she has experienced being watched and followed at different times during her life. For Micah, however, this is exciting stuff. He buys a video camera and sets it on a tripod near their bed to record the room while they sleep at night, and getting everything on film (actually computer) becomes paramount, trumping even the consideration of pacifying his freaked out girlfriend. The camera does its job, with the microphone capturing strange sounds and the viewfinder reflecting disquieting images, like a door opening and closing of its own volition. As Micah becomes more energized by the situation, Katie’s terror escalates. She consults a psychic, who provides two startling pieces of information: the spirit haunting Katie is a demon (not a ghost) and she is the specific target of the supernatural interference – leaving the house will not lessen her plight. And every night, things get worse.

The pillars upon which Paranormal Activity are founded are verisimilitude and simplicity. The movie doesn’t try to do too much. It doesn’t rely on special effects. It’s basically one set (a house), one camera, carefully placed lights, and two actors who are entirely convincing playing these characters. There’s not a lot more to the movie than that. Many of the daytime conversations between Katie and Micah are either extemporized or made to seem that way. Director Oren Peli has crafted the movie with such deceptive simplicity that it almost seems like anyone could do it. And that, in a way, is its genius. It helps us to relate. It helps us to buy into the ghost story in a way that we might not if the production was more lavishly mounted. I don’t believe in ghosts, but this is not a movie I would want to watch at home by myself past midnight. Suddenly, the natural settling noises of the house would sound anything but natural.

Is the movie scary? For a horror movie, that is often the bottom line. While it may be a stretch to call any motion picture conventionally “frightening,” Paranormal Activity is suffused with a creepy, disturbing atmosphere that envelops the viewer. The “boo!” moments are effectively constructed to generate the necessary jolt without seeming unnecessarily manipulative. The ending, which was apparently selected over Peli’s original version after being suggested by Steven Spielberg, is appropriate for the story.

In some ways, the marketing campaign for Paranormal Activity threatens to dwarf the movie. Paramount is building interest on the strong word-of-mouth generated by targeted screenings and by the exclusivity factor of slowly rolling it out to select theaters in specific markets. Those who feel “left out” in the early stages of the phased distribution can “demand” the movie on a website. Paramount promises that once 1,000,000 demands are recorded, the movie will go wide. (This is a bit of sham, since plans to distribute prints to multiplexes around the country were finalized weeks ago, but the website provides viewers with the illusion of participation.) The Halloween season is the perfect time of the year for a production such as this. Every October, we’re all looking for a good scare. In an era when mainstream horror is often indistinguishable from self-parody, it takes something basic like this to be diabolically successful.

(Spoiler note for the trailer: If you really want to be surprised by the movie, avoid the trailer. Take my word for it.)

That title – The Men Who Stare at Goats – is, in and of itself, an indication that this movie is not directed squarely at mainstream multiplex-goers. It’s hard to imagine an army of 14-year old boys and their dates lining up to see this movie, which is designed with a more sophisticated audience in mind. The film is more than a little odd but it has fun with its offbeat premise and moves along breezily until it gets bogged down in the third act. (Watch out for the appearance of Kevin Spacey – that’s when the momentum starts to flag as a more direct focus on narrative undermines some of the wit and comedy.)

The Men Who Stare at Goats opens with the following caption: “More of this is true than you would believe.” But isn’t truth always said to be stranger than fiction? We are introduced to Ann Arbor journalist Bob Wilton (Ewan McGregor), who is looking for the story of his life; he wants to impress his wife, who has unceremoniously dumped him. His quest leads him to Kuwait, where he hopes to become embedded with a group of troops entering Iraq. There he meets Lyn Cassady (Clooney), an ex-Special Ops military officer who claims to have been part of the “New Earth Army,” a covert group of “psychic spies” who use their “Jedi mind powers” to influence others. Cassady agrees to take Wilton with him on a mission across the border. Along the way, he tells him about the New Earth Army’s history and its commanding officer, Bill Django (Jeff Bridges), who ran a very different kind of unit.

The first half of The Men Who Stare at Goats is superior to the second half. For about 45 minutes, the film is content to play with the absurdity of the concept of having a covert group of “psychic spies.” It also works brilliantly as a parody of the military and its rules and structure. Unfortunately, past the midpoint, the movie begins to pay more attention to plot and, when it does this, the humor erodes. The more The Men Who Stare at Goats focuses on developing and advancing the narrative, the less enjoyable it is because Cassady’s “mission” turns out to be rather uninteresting.

The director of The Men Who Stare at Goats is Grant Heslov. This is his feature debut behind the camera, but not his first opportunity to join forces with Clooney. He co-wrote (with Clooney) and produced Good Night and Good Luck and filled similar producing duties for Leatherheads. The two men clearly know each other and work well together, and it shows in the easy way this movie unfolds. Heslov is not performing without a net. Who better than Clooney to lend a helping hand – a man who has learned from Soderbergh and the Coens and directed three films in his own right (two of which he collaborated with Heslov)?

The movie contains one of the best in-jokes of recent times. The psychic spies go by a number of different names, among them the “remote viewers” and the “Jedis.” This allows for multiple references to Star Wars. Of course, it will be lost on no one in the audience that Ewan McGregor played none other than the young Obi-Wan in the prequel trilogy. So this creates a little amusement every time McGregor and Clooney discuss the Jedis and Jedi powers. McGregor provides us with this quote: “What’s a Jedi Warrior?” He then ends up pursuing the path of the Jedi in the end. It would be interesting to know whether Heslov and screenwriter Peter Straughan were aware of McGregor’s pending involvement when those lines were written. If they were, it was an amusing way to work in one of the actor’s most (in)famous roles. If they weren’t, it was a case of an eyebrow-raising coincidence.

Fans of The Big Lebowski, which has achieved a major cult status since its theatrical release, will note similarities between Bill Django and the “The Dude” of the earlier film. Both are played by Jeff Bridges, who has apparently drawn from the same wellspring of inspiration for these laid-back, New Age-y parts.

The Men Who Stare at Goats is enjoyable to watch “in the moment,” but it doesn’t leave a powerful or lasting impact, at least insofar as the comedic elements are concerned. (Re-watching it a second time after initially seeing it a month earlier at the Toronto Film Festival, I was surprised how fresh the humor was – mainly because I didn’t remember most of the jokes.) As entertaining as the production is, however, the fact that it contains a kernel of truth reminds us of one damning truth: This is the kind of thing that American tax dollars are being spent on. The Men Who Stare at Goats is a comedy, and I laughed quite a few times while watching it, but that sobering reality almost makes me want to cry.

The lead character is aspiring actor Richard Samuels (Zac Efron), a teenager who is picked by Welles (Christian McKay) to appear in Julius Caesar even before he graduates from high school. Welles, however, is a notoriously difficult boss. One moment, he is cruel and dismissive. The next, he acts like a mentor, bringing Richard with him to a radio studio and allowing him to observe as Welles improvises lines in a live audio play. Since Richard’s role as Lucillus is relatively minor, the young performer is given ample time to observe the behind-the-scenes goings-on at the Mercury. Two famous actors, Joseph Cotton (James Tupper) and George Coulouris (Ben Chaplin), are involved in the production, and John Houseman (Eddie Marsan) is Welles’ partner in the business side of the venture. For Richard, however, the Mercury’s real attraction, aside from the opportunity to work with Welles, is Sonja Jones (Claire Danes), Welles’ secretary. He pursues her with the dogged single-mindedness of a young man in love.

In a courageous move, Linklater devotes the better part of the film’s final half-hour to exacting re-creations of scenes from Julius Caesar, providing a view of how the play might have looked on Opening Night. There’s not enough of the play for someone unaware of its general trajectory to understand what’s happening, but those who have seen or read it will be able not only to follow the excerpts but be able to understand the uniqueness of Welles’ vision. The unfortunately downside of this approach is that it narrows the target audience considerably.

The ostensible star is Zac Efron, who chose this role as an opportunity to step far away from the parts that have made him famous. (It’s difficult to imagine many members of his core audience enjoying Me and Orson Welles.) His heartthrob status effectively submerged, Efron is solid although unspectacular. It’s difficult to see it when Welles calls Richard a “natural born actor,” but Efron’s performance is workmanlike and certainly nothing to be ashamed of. Likewise, Claire Danes snaps off her dialogue like a whip and exhibits sufficient screen presence to avoid being a liability. The love affair between Richard and Sonja, despite being underplayed, is believable. Both Efron and Danes, however, exist in the shadow of Christian McKay, whose portrayal of Welles captures the essence of the great man: impatient, egotistic, arrogant, brilliant, and a perfectionist. It’s all there – the good and the bad – presented with such astonishing force that it’s impossible for McKay to not dominate every scene in which he appears. (McKay, before making this movie, had played Welles in a stage play.) Physically, McKay bears a passing resemblance to Welles, but his voice is uncannily exact – so much so that, if you watch with your eyes closed, the experience is almost eerie. Not since Anthony Hopkins took over a movie with his supporting role in The Silence of the Lambs has a secondary actor so dominated a movie.

Me and Orson Welles is designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both. The film’s storyline is strong enough to provide structure for the production, but it is dramatically limited. Despite Linklater’s directorial credit and Efron’s name at the top of the marquee, Me and Orson Welles has taken fourteen months since its September 2008 world premiere at the Toronto Film Festival to obtain a limited United States release. Many distributors passed on the movie not because they weren’t impressed by its craft but because the potential audience is restricted. This is a specialty movie. Those in its demographic will fall under its impressive spell, but it will be difficult to find enough of those individuals to make the production profitable. McKay alone is well worth the price of admission and, if Me and Orson Welles proves to be too small for the Academy to notice, his performance could go down as one of the great overlooked ones of the decade.

Many tremendous movies could be made about Welles, whose larger-than-life personality would easily lend itself to an epic. From his critically adored stage productions to his War of the Worlds Halloween broadcast to his cinematic debut (and pinnacle), Citizen Kane, to the travesty of The Magnificent Ambersons, few 20th century personalities were more colorful. For Me and Orson Welles, we are presented not only with a minor slice from the man’s life, but one that is shown through the eyes of another. It’s an effective way to introduce the essence of Welles without overwhelming the viewer with his life story.

Mr. Fox (voice of George Clooney), an animal of the expected species, is an ex-thief who now earns his living as a newspaper columnist. Bored with living in a hole, he decides to buy a house in a tree and moves in with his wife, Felicity (Meryl Streep), and son, Ash (Jason Schwartzman). They are soon joined by Mr. Fox’s nephew, Kristofferson (Eric Anderson), who is staying with them while his father recuperates from double pneumonia. The tree house is close to the farms of Boggis, Bunce, and Bean, and the lure of easy loot proves too tempting for Mr. Fox to ignore, despite a two-year old promise to his wife never to steal again. So, with his faithful sidekick, Kylie the opossum (Wally Wolodarsky), in tow, he sets out to steal chickens from Boggis, ducks and geese from Bunce, and alcoholic cider from Bean. He succeeds, but the farmers aren’t happy and decide to use every means at their disposal to remove the blight of Mr. Fox from their little corner of the world.

Anderson’s adaptation of the Dahl novel is so smooth and effortless that I’m tempted to say he has unearthed his calling. For the most part, I have found his live-action films (which are generally much beloved by critics) to be intelligent-yet-pompous (consider, for example, The Darjeeling Limited), but Fantastic Mr. Fox, perhaps because it is envisioned as being family-friendly, is just plain smart. For the most part, Anderson keeps his proclivity for pretentiousness in check, although there are times when the assembled animals sound like lost members of The Royal Tenenbaums. The humor is often subtle, but that doesn’t rob it of its ability to provoke smiles and laughter. And the animated nature of the production robs some of the more mean-spirited elements of their sting. Fantastic Mr. Fox may not get PETA’s stamp of approval (some birds meet gruesome fates) but the MPAA saw it as worthy of nothing more restrictive than a mild PG.

Dahl purists may complain that the movie doesn’t end the same way the book does, but Anderson and co-writer Noah Baumbach reportedly uncovered an alternative ending devised by Dahl that didn’t make it into print, and this was used to inform the conclusion. Whether or not this is true, the pieces of the movie that do not replicate aspects of the novel are nevertheless faithful to the spirit of the source material. I’d place this alongside Matilda as a motion picture that “gets” the book and transforms its essence to the screen.

The voice work is superlative. George Clooney brings the right mix of bravado and self-deprecation to the part of Mr. Fox. Often, using an immediately recognizable voice for an animated character can be a problem, but Clooney is so charismatic that he manages to overcome the hurdle. Meryl Streep, who has been branching into new areas recently (first Mamma Mia!, now this), is effectively subtle. Anderson “regulars” Jason Schwartzman and Bill Murray (possibly atoning for Garfield) provide support, as does Willem Dafoe as the dastardly Rat, who seems to have learned his moves from watching West Side Story a few too many times. Michael Gambon uses his rumbling bass to good effect as the dastardly Bean. So this is life after Dumbledore…

It’s a curious fact that most films based on Dahl stories have become more highly regarded with the passage of time than they are when released. This has been the case with Willy Wonka and the Chocolate Factory (although not necessarily the Tim Burton re-telling of the story), James and the Giant Peach, and Matilda. Henry Selick clearly has a love for Dahl. He was the director of James and the Giant Peach and was originally attached with Anderson for this film (he left to helm Coraline). Anderson has proceeded as Selick might have and the stop-motion style is in keeping with what Selick would likely have achieved. (The group of animators were the same.) In addition to recalling James and the Giant Peach, Fantastic Mr. Fox reminded me of the Aardman movies, especially Chicken Run. Not only is the “look” similar but the philosophy of voice characterization is the same (with the unmistakable vocal stylings of Mel Gibson front-and-center). Both films also boast screenplays whose sophistication belies their format.

Are there kids who will enjoy the hell out of Fantastic Mr. Fox? Sure. But I suspect that in many cases, this is one animated offering where the parents will get more out of it than their offspring.