Thursday, November 17, 2011

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In a future alternate-reality Earth-one existence in a swirling maelstrom of parallel worlds - a vicious totalitarian British Empire reigns supreme. But in Rome, the dying Pope sets into motion a dark plan to place the throne of Britannica under papal control - by any means necessary. And while such temporal machinations threaten the world's political and social stability, a monstrous force is building across the multiverse, and a countdown begins to almost certain dimensional apocalypse! Luther Arkwright has saved a universe before, b! ut with an infinity of universes threatened with annihilation, all of Arkwright's preternatural talents are needed. If only Arkwright weren't dead...
While Galileo suffered under house arrest at the hands of Pope Urban VIII, the Thirty Years War ruined Europe, and the Pilgrims struggled to survive in the New World, work began on what would become one of the Seven Wonders of the World: the Taj Mahal. Built by the Moghul emperor Shah Jahan as a memorial to his beloved wife, Mumtaz Mahal, its flawless symmetry and gleaming presence have for centuries dazzled everyone who has seen it, and the story of its creation is a fascinating blend of cultural and architectural heritage. Yet, as Diana & Michael Preston vividly convey in the first narrative history of the Taj, it also reflects the magnificent history of the Moghul Empire itself, for it turned out to mark the high point of the Empire’s glory at the same time as it became a tipping point in Moghul fortunes.
 
The! roots of the Moghul Empire lie with the legendary warriors Ge! nghis Kh an and Tamburlaine; at its height it contained 100 million people, from Afghanistan in the north and present-day Pakistan in the west, to Bengal in the east and southwards deep into central India.. With the storytelling skills that characterize their previous books, Diana & Michael Preston bring alive both the grand sweep of Moghul history and the details that make it memorable: the battles and dynastic rivalries that forged the Empire alongside an intimate chronicle of daily life within the imperial palace. A tale of overwhelming passion, the story of the Taj has the cadences of Greek tragedy and the ripe emotion of grand opera, and puts a memorable human face on the marble masterpiece.
Six talented Empire Authors team up to weave together An Empire Of Broken Hearts, a masterpiece of short stories brought together in one anthology for charity. Within these heartfelt pages are stories filled with sorrow, triumph, sadness and bliss.

Sharon Lea Ford brings us a! tale of the Australian Outback, a young woman and a Jackeroo experience love and the trials of living the farm life. This story will tug at the heartstrings and give us pause to be grateful for what we possess.

G.B Hobson tells of the far-reaching repercussions of a woman's unrequited love. Two men forbidden by religion and culture to live in a loving relationship must decide if life is worth living halfway or if their love can cross all barriers.

Remmy Duchene tells the endearing story of a man who loses his best friend. But five years later he's still pining over him. A heart can only endure one true love at a time. Will he continue his obsession over a five year loss and lose the love of his life?

Geoffrey Knight delivers a melancholy story turned sweet, woven around two young boys. Their lives lived in shades of grey until a chance encounter brings them together for one colorful day of fun, fascination, and what it is to first fall in l! ove without even knowing what it means.

Savannah Ch! ase show s us chance encounters between a woman and a man can create something truly special. Even if tragedy strikes it can leave behind the greatest miracle of all. There is nothing more powerful than the love between two people.

Justin James tells a traumatic story of being victimized. When inner strength fails, and the pieces of body, soul and spirit must be mended, an angel is needed. One random act of kindness brings together two people, allowing the healing process to begin and a new story to unfold.

An Empire Of Broken Hearts is an Anthology for Charities World-Wide. All proceeds from the sale of this title will go to the Empire Trust. For more information please visit www.darempiremedia.com
Six talented Empire Authors team up to weave together An Empire Of Broken Hearts, a masterpiece of short stories brought together in one anthology for charity. Within these heartfelt pages are stories filled with sorrow, triumph, sadness and bliss.

Sharon! Lea Ford brings us a tale of the Australian Outback, a young woman and a Jackeroo experience love and the trials of living the farm life. This story will tug at the heartstrings and give us pause to be grateful for what we possess.

G.B Hobson tells of the far-reaching repercussions of a woman's unrequited love. Two men forbidden by religion and culture to live in a loving relationship must decide if life is worth living halfway or if their love can cross all barriers.

Remmy Duchene tells the endearing story of a man who loses his best friend. But five years later he's still pining over him. A heart can only endure one true love at a time. Will he continue his obsession over a five year loss and lose the love of his life?

Geoffrey Knight delivers a melancholy story turned sweet, woven around two young boys. Their lives lived in shades of grey until a chance encounter brings them together for one colorful day of fun, fascination, and what it is to first ! fall in love without even knowing what it means.

Savann! ah Chase shows us chance encounters between a woman and a man can create something truly special. Even if tragedy strikes it can leave behind the greatest miracle of all. There is nothing more powerful than the love between two people.

Justin James tells a traumatic story of being victimized. When inner strength fails, and the pieces of body, soul and spirit must be mended, an angel is needed. One random act of kindness brings together two people, allowing the healing process to begin and a new story to unfold.

An Empire Of Broken Hearts is an Anthology for Charities World-Wide. All proceeds from the sale of this title will go to the Empire Trust. For more information please visit www.darempiremedia.com
The Maskell family lives in West Bromwich, the Midlands. The year is 1971. Grandpa and Grandma Maskell rule benevolently over their three sons and their families. Ten-year-old Keith watches as the family grows â€" Eric’s wife is expecting their first child, Stephen! has recently brought a girl home who to Keith is the epitome of beauty and perfection. For Keith the sweet aroma of an almost perfect childhood promises to last forever. Until his father, John, announces he wants to emigrate to Australia. The calm munificent façade of the Maskell family, so carefully constructed by Grandma Maskell, suddenly begins to crumble. Change is in the wind; things will never be the same again.The Maskell family lives in West Bromwich, the Midlands. The year is 1971. Grandpa and Grandma Maskell rule benevolently over their three sons and their families. Ten-year-old Keith watches as the family grows â€" Eric’s wife is expecting their first child, Stephen has recently brought a girl home who to Keith is the epitome of beauty and perfection. For Keith the sweet aroma of an almost perfect childhood promises to last forever. Until his father, John, announces he wants to emigrate to Australia. The calm munificent façade of the Maskell family, so care! fully constructed by Grandma Maskell, suddenly begins to crumb! le. Chan ge is in the wind; things will never be the same again.She was the catalyst that helped to turn a rag-tag rebellion into the Rebel Alliance. She provided the impetus for the "Heroes of Yavin" in their attack on the Death Star. And she was the spark that ignited the flames of passion in one of the galaxy's most notorious rogues. "She," of course, is Princess Leia, the leader - and heart - of the Rebellion against Palpatine's galactic Empire. The four stories in this volume follow Leia from the weeks just before the events in A New Hope, to the time just before The Empire Strikes Back - from her first transforming experience with armed rebellion, to facing the ramifications of consequences of the destruction of her home planet, to the beginnings of true love.From a State Department insider, the first account of our blundering efforts to rebuild Iraq--a shocking and rollicking true-life tale of Americans abroad
Charged with rebuilding Iraq, would you spend taxpayer ! money on a sports mural in Baghdad's most dangerous neighborhood to promote reconciliation through art? How about an isolated milk factory that cannot get its milk to market? Or a pastry class training women to open cafés on bombed-out streets without water or electricity?
According to Peter Van Buren, we bought all these projects and more in the most expensive hearts-and-minds campaign since the Marshall Plan. We Meant Well is his eyewitness account of the civilian side of the surge--that surreal and bollixed attempt to defeat terrorism and win over Iraqis by reconstructing the world we had just destroyed. Leading a State Department Provincial Reconstruction Team on its quixotic mission, Van Buren details, with laser-like irony, his yearlong encounter with pointless projects, bureaucratic fumbling, overwhelmed soldiers, and oblivious administrators secluded in the world's largest embassy, who fail to realize that you can't rebuild a country without first picking! up the trash.
Darkly funny while deadly serious, We Mea! nt Well< /i> is a tragicomic voyage of ineptitude and corruption that leaves its writer--and readers--appalled and disillusioned but wiser.What if you could see anywhere, hear any secret, and go almost any place undetected? How would you use your new power? Would you succeed in creating an earthly paradise, or would your choices give birth to a living nightmare?

This is the ancient mystery of the Ring from Plato’s Republic. But it is also the key to understanding what power already lies on the near horizon, when Unmanned Aerial Vehicles (UAVs) become the size of insects.

This visionary novel of robotic assassins and spies plunges deep into hidden dungeons and soars into fortress palaces to search out the ancient question of power and its wise use, and whether we â€" as individuals or all together - are on the road to a new era of justice and peace, or merely on the well-worn path to the graveyard of empires.
What if you could see anywhere, hear any sec! ret, and go almost any place undetected? How would you use your new power? Would you succeed in creating an earthly paradise, or would your choices give birth to a living nightmare?

This is the ancient mystery of the Ring from Plato’s Republic. But it is also the key to understanding what power already lies on the near horizon, when Unmanned Aerial Vehicles (UAVs) become the size of insects.

This visionary novel of robotic assassins and spies plunges deep into hidden dungeons and soars into fortress palaces to search out the ancient question of power and its wise use, and whether we â€" as individuals or all together - are on the road to a new era of justice and peace, or merely on the well-worn path to the graveyard of empires.
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Fighting Tommy Riley

TCM Spotlight: Esther Williams, Volume One (Bathing Beauty / Easy to Wed / On an Island with You / Neptune's Daughter / Dangerous When Wet)

  • Five films that make a splash from Hollywood s swimming superstar! Bathing Beauty (1944): Esther Williams made a big splash as a Bathing Beauty. Suddenly a new star and a new genre of moviemaking was born. Rambunctious funnyman Red Skelton joins that new star in this buoyant (literally) comedy about a lovesick songwriter who enrolls in a women s college to woo his estranged swimming-teacher wife.
No Description Available.
Genre: Feature Film-Drama
Rating: R
Release Date: 6-NOV-2001
Media Type: DVDAlthough it was unfortunately ignored during its brief theatrical release, this sumptuously seductive production is that rarest of cinematic breeds, the (barely) respectable guilty pleasure. Combining historical fact with hysterical anachronisms of language and mannerism, it's been tailored for maximum contemporary appeal but maintains a lush, romantic feel for! its factual 16th-century tale of Venetian love, lust, and political repression. Catherine McCormack (Mel Gibson's ill-fated bride in Braveheart) delivers a star-making performance as the "dangerous beauty" who becomes a skillful courtesan to pursue her forbidden love for a dashing Venetian senator (Rufus Sewell). It's all rather silly in a high-toned fashion, and the film turns dour when the church intervenes with a Scarlet Letter-like papal inquest. But the movie's joyously ribald vitality is utterly irresistible, and the casting of McCormack with Jaqueline Bisset (as her mother and courtesan mentor) is a stroke of pure genius. Merchant-Ivory would've made a smarter film from this material, but it probably wouldn't be nearly as entertaining. --Jeff Shannon Although it was unfortunately ignored during its brief theatrical release, this sumptuously seductive production is that rarest of cinematic breeds, the (barely) respectable guilty pleasure. Combini! ng historical fact with hysterical anachronisms of language an! d manner ism, it's been tailored for maximum contemporary appeal but maintains a lush, romantic feel for its factual 16th-century tale of Venetian love, lust, and political repression. Catherine McCormack (Mel Gibson's ill-fated bride in Braveheart) delivers a star-making performance as the "dangerous beauty" who becomes a skillful courtesan to pursue her forbidden love for a dashing Venetian senator (Rufus Sewell). It's all rather silly in a high-toned fashion, and the film turns dour when the church intervenes with a Scarlet Letter-like papal inquest. But the movie's joyously ribald vitality is utterly irresistible, and the casting of McCormack with Jaqueline Bisset (as her mother and courtesan mentor) is a stroke of pure genius. Merchant-Ivory would've made a smarter film from this material, but it probably wouldn't be nearly as entertaining. --Jeff ShannonVincent Perez (The Crow, City of Angels) and Rachel Weisz (Stealing Beauty) star wit! h Ian McKellen and Kathy Bates in this passionate film about two star-crossed lovers. Amy Foster, considered a simpleton by some and a witch by others, is accused of conjuring the fierce storm which causes a shipwreck. Only one man survives and is immediately drawn to strange Amy. A haunting tale of love and loss, Swept From the Sea is "a superb, epic and moving romance". Brilliantly directed and performed. "Four stars." - Paul Wunder, WBAI RADIO Based on the Joseph Conrad story "Amy Foster," this swirlingly romantic melodrama tells the story of a Polish sailor (Vincent Perez) shipwrecked and washed ashore on the English coast in the 19th century. Found by a servant girl, Amy (Rachel Weisz), who is a village outcast, he is considered retarded because no one can understand what he says. But slowly, through Amy's love and the doctor's tutelage, the sailor learns enough English to decide he wants to make an honest woman out of Amy. Which doesn't sit well with th! e disapproving villagers, who don't like Amy. Even the doctor,! who has a fondness for the sailor, has a blind spot when it comes to the servant girl. Strong performances and gritty period settings lift this film above bodice-ripper status to something richer. --Marshall FineKAMA SUTRA - DVD MovieIf you're looking for a deep, intelligently romantic movie with complex characters and a richly rewarding plot, don't bother with Kama Sutra: A Tale of Love. On the other hand, if you're feeling sexy and in the mood for a lush, seductive, and visually stunning film set in 16th-century India, this one will please you like the best foreplay you've ever experienced. Or it will relax you like a full treatment at a pampering spa--either way, you're gonna feel pretty fantastic. Okay, okay... maybe we're getting a little carried away, but there's no denying that director Mira Nair (best known for her acclaimed film Salaam Bombay!) has crafted a sumptuous film for the eyes if not the head. Its melodramatic plot is involving enough to eleva! te the movie high above soft-core adult fare, so you won't feel guilty after watching it.

Kama Sutra is the story of a young woman named Maya (the stunning Indira Varma) who has always been lower on the social scale than her well-born friend Tara (Sarita Choudhury), and has always lived in Tara's shadow, wearing her used clothes and being made to feel inferior. When Tara is betrothed to the handsome King Raj Singh (Naveen Andrews, from The English Patient), Tara sneaks into the king's tent on the eve of the wedding and seduces him. Later, after being trained to master the Kama Sutra's many "lessons of love," Maya will be the king's courtesan, and emotions will run high between the former best friends. But the plot is of secondary importance here (a fact that resulted in many mixed reviews), and so Kama Sutra works best as a colorful and irresistibly sexy story that is worth seeing just for the startling beauty of the film and its cast. --Jeff S! hannon No Description Available.
Genre: Feature ! Film-Dra ma
Rating: NR
Release Date: 17-JUL-2007
Media Type: DVD

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Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Studio: Sony Pictures Home Ent Release Date: 05/13/2008 Run time: 82 minutes Rating: PgGeorge, Dave, Ray, and Rodney. Not a singing group, but four real-life individuals dedicated to controlling the entities that don't take kindly to their efforts. George Mendonca is a topiary gardener who spends his time taming tendrils of plant life into animal shapes. Why? Because he can, and apparently it's no easy job. One slip of the clipper and a green and leafy body part can go bye-bye for years. Dave Hoo! ver takes on big cats under the big top. An admirer of the famous lion tamer, Clyde Beatty, Dave comes out of the lion ring covered with sweat. Not from working hard, but from hand-trembling fear. Ray Mendez, a mole-rat expert, waxes eloquently about the social structure of these sightless, hairless natural wonders who wear their teeth on the outside of their lips. But if you want to see a real wacko at work, watch Rodney Brooks, a robotics expert who is convinced our extinction will be the first step in a takeover of tin men.

In Fast, Cheap & Out of Control, documentarian Errol Morris proves that the weird and obscure are just as interesting as the rich and famous. Morris tries to add depth to his subjects with his out-of-control editing technique, which after a while becomes an annoying distraction; these guys are fascinating enough all by themselves. The blare of the background music is also a bit much. Despite these shortcomings, though, if you like taking a! voyeuristic peek into other people's lives, Fast, Cheap & ! Out of C ontrol gives you plenty to look at. --Luanne BrownGeorge, Dave, Ray, and Rodney. Not a singing group, but four real-life individuals dedicated to controlling the entities that don't take kindly to their efforts. George Mendonca is a topiary gardener who spends his time taming tendrils of plant life into animal shapes. Why? Because he can, and apparently it's no easy job. One slip of the clipper and a green and leafy body part can go bye-bye for years. Dave Hoover takes on big cats under the big top. An admirer of the famous lion tamer, Clyde Beatty, Dave comes out of the lion ring covered with sweat. Not from working hard, but from hand-trembling fear. Ray Mendez, a mole-rat expert, waxes eloquently about the social structure of these sightless, hairless natural wonders who wear their teeth on the outside of their lips. But if you want to see a real wacko at work, watch Rodney Brooks, a robotics expert who is convinced our extinction will be the first step in a ta! keover of tin men.

In Fast, Cheap & Out of Control, documentarian Errol Morris proves that the weird and obscure are just as interesting as the rich and famous. Morris tries to add depth to his subjects with his out-of-control editing technique, which after a while becomes an annoying distraction; these guys are fascinating enough all by themselves. The blare of the background music is also a bit much. Despite these shortcomings, though, if you like taking a voyeuristic peek into other people's lives, Fast, Cheap & Out of Control gives you plenty to look at. --Luanne BrownFood, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who w! e have become as a nation.

Q&A w ith Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers tha! t emerged to serve the fast food chains.

How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ years.  It has taken a lot longer than we expected because we were denied access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and ! Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for am! ounts that there’s no way he can pay, even though he’s not guilty of anything.  Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise.

So, what does our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said y! ou look around now, and there’s like one or two companies do! minating everything in the food world. We’ve become what we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA! does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contempla! ting whether or not to label meat and milk from cloned cows. ! It seem s very basic that consumers should have the right to know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $! 10,000 a year.  The typical meatpacking worker has a similar background but earns about twice that amount.  A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speaking workers?
Kenner:
The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they ca! n have a few people arrested at a certain time so it doesn’t! affect production. But it affects people’s lives.  And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desperate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the! environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that science is used … and for whose benefit.

Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast! food is very reasonably priced.  Coke is selling for less th! an water .  So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time.  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get involved and help change the system, what would you suggest they do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, p! eople can work on food access issues, like getting more market! s into l ow income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food s! ystem in a generation.

For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very ! viewers who could benefit from it the most: harried workers wh! o don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy

Human Trafficking

  • HUMAN TRAFFICKING (DVD MOVIE)
Here's the hip, adrenaline-pumped comedy about one wild weekend in the lives of five young friends ... and how their latest raved-up adventure just might change their outlook before the next weekend arrives! For Jip, Lulu, Koop, Nina, and Moff, workdays are merely the dreary downtime between frenetic 48-hour binges of clubbing, pubbing, and partying without rules or limits! But when these friends spend a wild weekend in search of some meaning and real connections, they'll see things in ways they've never imagined! Fast, funny, and excitingly original -- discover for yourself this widely acclaimed hit!Human Traffic wants to be a Trainspotting for the rave set, and so it has thick British accents, hip snotty attitudes, slick visuals, a propulsive electronic soundtrack, and unfortunately some very weak writing and drab characters. A band of friends, w! ith the cute names of Jip, Koop, Nina, Lulu, and Moff, are sex-obsessed clubgoers having some sort of premature midlife crisis. Jip and Lulu are best friends, only their friendship is about to be threatened by sexual tension. Koop gets ravingly jealous about his girlfriend, Nina. Moff masturbates a lot and has a repressive dad. Jip's mother is a prostitute. Koop's father is a paranoid schizophrenic. What little plot there is revolves around whether or not they'll get into a particularly hip club. Critics usually complain that movies are too much like music videos, but Human Traffic could stand to be more of one. All the best moments are when the tepid dialogue stops and the driving beats and quickly edited images take over. A brief break dancing sequence is a moment of genuine dazzle. The actors aren't completely without charm, but the movie is just trying too hard to achieve the effervescent buzz it seeks. --Bret FetzerStudio: Lions Gate Home Ent. Release D! ate: 05/17/2011 Run time: 84 minutes Rating: RHuman Traff! ic w ants to be a Trainspotting for the rave set, and so it has thick British accents, hip snotty attitudes, slick visuals, a propulsive electronic soundtrack, and unfortunately some very weak writing and drab characters. A band of friends, with the cute names of Jip, Koop, Nina, Lulu, and Moff, are sex-obsessed clubgoers having some sort of premature midlife crisis. Jip and Lulu are best friends, only their friendship is about to be threatened by sexual tension. Koop gets ravingly jealous about his girlfriend, Nina. Moff masturbates a lot and has a repressive dad. Jip's mother is a prostitute. Koop's father is a paranoid schizophrenic. What little plot there is revolves around whether or not they'll get into a particularly hip club. Critics usually complain that movies are too much like music videos, but Human Traffic could stand to be more of one. All the best moments are when the tepid dialogue stops and the driving beats and quickly edited images take over. A ! brief break dancing sequence is a moment of genuine dazzle. The actors aren't completely without charm, but the movie is just trying too hard to achieve the effervescent buzz it seeks. --Bret FetzerNominated for Two Golden Globes® - Best Actress and Best Actor in a TV Miniseries; Lifetime Television's most-watched miniseries of 2005. Featuring Emmy® and Golden Globe® Award winner Donald Sutherland (The Italian Job), Academy Award® and Golden Globe® Award winner Mira Sorvino (Mighty Aphrodite) and Trainspotting's Robert Carlyle, Human Trafficking is at once a gripping thriller, a cautionary tale, and one of the most fundamentally important stories of our time. DVD Features include: Interviews with Mira Sorvino and Robert Carlyle, Behind the Scenes with the cast and crew, and A "Take Action" Guide to shop human trafficking now! The Lifetime cable channel made TV history with this ambitious, acclaimed original miniseries on the horrifying phenomenon of human traffi! cking, or sexual slavery. It follows the fictional cases of yo! ung wome n around the world, lured or abducted, sometimes right off the street, into a world of unspeakable brutality--which the filmmakers show in almost overwhelming detail at times. Mira Sorvino and Donald Sutherland star as American government officials bent on exposing and stopping the phenomenon, and both are more than serviceable in their roles. But the revelation is Robert Carlyle, the Scottish star of The Full Monty and Trainspotting, who here is transformed into a ruthless criminal mastermind behind his own trafficking network. Even his Eastern European accent is spot-on and blood-chilling. The supporting cast of women and girls is strong, and in some cases, truly heartbreaking. And while sometimes almost unbearably harsh, the film serves as a reminder this terrible situation still exists and thrives; and told through the characters, is also a well-paced thriller. --A.T. Hurley

Get Smart (Single-Disc Widescreen Edition)

  • DVD Details: Actors: Steve Carell, Anne Hathaway
  • Directors: Peter Segal
  • Format: AC-3, Color, Dolby, Dubbed, DVD, Subtitled, Widescreen, NTSC
  • Aspect Ratio: 1.66:1; Number of discs: 1; Studio: Warner Home Video
  • DVD Release Date: November 4, 2008; Run Time: 110 minutes
MAXWELL SMART, AGENT 86 FOR CONTROL, BATTLES THE FORCES OF KAOS WITH THE MORE COMPETENT AGENT 99 AT HIS SIDE.The Cold War may be over, but that doesn't mean it can't still be milked for laughs. Get Smart, the sassy film version of the Mel Brooks/Buck Henry-created '60s TV satire, brings plenty of elements of the original series and spins it freshly into the new world of bad guys in the 21st century, pretty much without losing a beat. Steve Carell is perfectly cast as the bumbling Maxwell Smart--but in a slick improvement on the TV show, Smart isn't really hapless--though he has a bit of a s! elf-esteem problem (all around his apartment are sticky notes with exhortations like "You can DO it!"). Carell's Maxwell Smart is a sharp techie researcher at the uber-secret crime-battling agency, CONTROL, who's just a little out of his element out in the field. As his data-crunching sidekick Bruce (Masi Oka of Heroes) says, "We're the ones guarding democracy!", aghast that Max would want to be an agent.

But Max longs for the action enjoyed by the likes of Agent 23 (a godlike Dwayne Johnson), with glamorous deployments around the world. When he finally gets his dream assignment--as the newly minted Agent 86--he's paired up with the slick and experienced Agent 99 (Anne Hathaway), who provides great lines, not to mention some interesting chemistry, while she continually saves Max from harm's way. The cast is terrific, with memorable appearances by Alan Arkin as the Chief, Terrence Stamp as the head of the uber-evil KAOS, and Bill Murray as a (literally) ! put-out-to-pasture agent whose spy post is inside a tree ("rea! lly grea t, old-school stuff" he calls his assignment). And there's plenty of action, explosions, and creative shootouts with the bad guys (highlight: a freefall from a plane, with two people and just two parachutes). But it's Carell and his combination of insecure yearning and deadpan delivery that make Get Smart as, well, smart as it is. When Max learns he's finally been promoted to agent, he slips into the Cone of Silence--which unfortunately is malfunctioning. "I'm so happy! I'm so happy!" he yells, as his colleagues sit nearby hearing the whole thing. Discovering that, he purses his lips and says, "Well, that's a sucker-punch to the gonads." Sorry about that. --A.T. Hurley