The Agnes Browne Trilogy includes: * The Mammy * The Chisellers * The Granny

    There they meet all kinds of strange fairytale folk, including Fiona's parents the King and Queen, a wicked Fairy Godmother, and that fierce ogre-hunter, Puss-in-Boots. It's a hilarious adventure that proves that living happily ever after isn't as easy as the storybooks say.Scholastic's SHREK 2 books are sure to be a hit with kids and ogres of all ages--and you don't have to live in a swamp to get in on the fun!LICENSOR APPROVAL PENDING

    Wiley and Mr. Bona have found just the right tone for writing about this most particular of American phenomena.

    Born in 1926 in Dublin, he was educated at Presentation College, Dun Laoghaire. He is an award winning playwrite and screenwriter, and was literary Editor at the Abbey Theatre, Dublin 1976-77. He now lives in Dalkey in County Dublin.

    Included is the original shooting script. With over thirty pages of material not used in the final film, along with a sixteen-page color section featuring rare artwork, production drawings, photographs of the cast and crew, and detailed annotations by the screenwriters.

    Jenny is a 16-year-old girl stifled by the tedium of adolescence; she can’t wait for her sophisticated adult life to begin. One rainy day her suburban existence is upended by the arrival of David, a much older suitor who introduces her to a glittering new world of concerts, art, smoky bars, urban nightlife, and his glamorous friends, replacing her traditional education with his own version. It could be her awakening or her undoing. This edition of Hornby’s adapted screenplay, which includes stills from the film, is a perfect accompaniment to the highly anticipated movie, which stars Carey Mulligan as Jenny, Peter Sarsgaard, Emma Thompson, Dominic Cooper, and Alfred Molina. It is a must-have for fans of Hornby’s novels, featuring his signature pitch-perfect dialogue, mordant wit, and the resonant humanity of his writing.

    1946) is perhaps the best known of all cult directors, whose Mulholland Drive marks cinema's arrival to the 21st century. His career began more than 30 years ago, with the groundbreaking, mystifying "Eraserhead" (1977). With "Blue Velvet" (1986), "Wild at Heart" (1990) and "Lost Highway" (1997) Lynch breathed new life into the sensory experiences of film audiences and disrupted narrative logic to mysterious and mystifying effect. In the early 1990s, he invented a new TV series genre with "Twin Peaks". Although he is a Hollywood director, Lynch works at the edges of the studio system, exploring the many facets of his artistic talent, whose creations, including photography, painting and music, are now making their way into museums and galleries.

    Outlines the essential traits of the New Wave and defines it as a school that changed international film history forever. Includes a chronology of major political and cultural events of the New Wave, black-and-white images, and an extensive bibliography.

    Plus hundreds of stills, posters, covers, candid shots and images, many in full color! The most comprehensive and insane book ever made about punk and/or movies!!!

    Complete vocal score to the classic with all 14 songs, including: Getting to Know You * Hello, Young Lovers * I Whistle a Happy Tune * Shall We Dance? * Something Wonderful * We Kiss in a Shadow * and more.

    An omnibus edition of three Ruth Rendell crime novels - A Demon in My View, A Judgement in Stone and The Face of Trespass.

    This is the only independent biography of Bruce Lee, and it is complete in terms of both the martial arts and the movies.

    

    January cold coming in off two rivers. Hart is broke, freezing, looking for a place to lay low from the cops. If he can't find somewhere soon he might do something rash - like steal an overcoat and accept a wallet containing $11,000 from a man dying from gunshot wounds in the street. Whoever killed him might have a bed, though, even if that means hanging out with a bunch of thieves and drifters while the heat blows over. Lucky for Hart he's handy with his fists. And if he can use his looks and smarts to get in with the gang, maybe he can ride this out and score big on his own. Originally published in 1954, Black Friday is one of David Goodis's leanest, meanest melancholy thrillers. In the character of Hart, it features one of his classic, tortured romantic heroes, a man who becomes mired in circumstances from which there is no escape. In this edition, Black Friday is combined with short stories, unpublished since they were first written for pulp magazines in America over 50 years ago.

    An anthology devoted entirely to its writings, in English translation, is long overdue.The selections in this volume are drawn from the colorful first decade of Cahiers, 1951-1959, when a group of young iconoclasts rocked the world of film criticism with their provocative views on international cinema--American, Italian, and French in particular. They challenged long-established Anglo-Saxon attitudes by championing American popular movies, addressing genres such as the Western and the thriller and the aesthetics of technological developments like CinemaScope, emphasizing mise en scene as much as thematic content, and assessing the work of individual filmmakers such as Hawks, Hitchcock, and Nicholas Ray in terms of a new theory of the director as author, auteur, a revolutionary concept at the time. Italian film, especially the work of Rossellini, prompted sharp debates about realism that helped shift the focus of critical discussion from content toward style. The critiques of French cinema have special interest because many of the journal's major contributors and theorists--Godard, Truffaut, Rohmer, Rivette, Chabrol--were to become some of France's most important film directors and leaders of the New Wave.Translated under the supervision of the British Film Institute, the selections have for the most part never appeared in English until now. Jim Hillier has organized them into topical groupings and has provided introductions to the parts as well as the whole. Together these essays, reviews, discussions, and polemics reveal the central ideas of the Cahiers of the 1950s not as fixed doctrines but as provocative, productive, often contradictory contributions to crucial debates that were to overturn critical thinking about film.