Gene Barry

Going My Way This irresistible Oscar winner from writer-director Leo McCarey (An Affair to Remember) stars Bing Crosby as a low-key, crooning priest who joins the parish of a no-nonsense but sweet old Irish man of the cloth (Barry Fitzgerald). While Bing turns local toughs into a choir, the elder priest worries over the church building fund and whether he'll get a chance to see his old mother back in Ireland before she dies. One would have to have a heart of stone not to be won over by this charmer, with a lovely ending guaranteed to make you bawl for a week. --Tom Keogh Holiday Inn This perennial, Christmas-season favorite from 1942 teamed Bing Crosby and Fred Astaire as entertainers (and rival suitors of Marjorie Reynolds) running an inn that is only open on holidays. It's a great excuse for lots of singing and dancing, seamlessly wrapped in a catchy story, and Astaire's frequent director Mark Sandrich (Top Hat, Shall We Dance) doesn't let us down. The Irving Berlin numbers (each one connected to a different holiday) are winners, with Crosby's warm performance of "White Christmas" a movie touchstone. --Tom Keogh

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The people who felt betrayed when Linda Eder covered several pop songs on 2002's Gold will be relieved that her follow-up, Broadway My Way, is a return to the Great White Way. As if to prove that she isn't limited to either the songs of Frank Wildhorn or ballads, Eder tackles some well-known show tunes. The ballads tend to be overwrought, so it's best to look for the uptempo numbers. The singer's take on "Some People" is technically fine but so va-va-voom showbiz that it lacks the deranged edge that makes the song so compellingly dramatic. Things work a lot better on "I Am What I Am": while Eder doesn't take it to the top (or rather over the top), this is as close as she gets to Mermanizing a number. Elsewhere, "Don't Rain on My Parade" (immortalized by Streisand) and "Man of La Mancha" are appropriately brassy and triumphant, with Eder roaring her way through both songs. Fans of both Eder and Wildhorn should note that the singer reprises her Svengali's "Gold," the title track from her previous album, and an excerpt from his long-in-the-works Camille Claudel. --Elisabeth Vincentelli

Producer-turned-director Irwin Winkler (The Net) crafted this 1992 remake of Jules Dassin's 1950 film noir about a small-time hustler in London who gets in over his head. Winkler's version is set in New York and stars Robert De Niro as a shyster lawyer who decides to get even with a boxing promoter (Alan King) who bests him in court. A couple of innocents are talked into helping the cause, notably the brother (Jack Warden) of De Niro's enemy and a barmaid (Jessica Lange) who agrees to finance the operation. Everything goes south, plunging the hero into prospects of real disaster. The film is far from an exemplary, contemporary noir, but its outstanding cast, with no shortage of charisma and dynamics, keeps things terribly interesting. So does the funny but terse script by Richard Price (Clockers), who also has a cameo as a doctor. Winkler's sensibilities as a tasteful and intelligent producer still get in the way of his daring as a director, but he does leave us with much to be satisfied about. --Tom Keogh

Tightly wound suspenser starring Will Smith as a labor lawyer who finds himself in the middle of a web of espionage when he accidentally comes into possession of a videotape featuring the assassination of a U.S. congressman. Gene Hackman is the communications expert who tries to help Smith in battling sinister, hi-tech special agents. With Jon Voight, Gabriel Byrne. 132 min. Widescreen; Soundtrack: English 5.1 Uncompressed, Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: English (SDH), French, Spanish; deleted scenes; "making of" documentary; featurette; theatrical trailer.

Robert Clayton Dean (Will Smith) is a lawyer with a wife and family whose happily normal life is turned upside down after a chance meeting with a college buddy (Jason Lee) at a lingerie shop. Unbeknownst to the lawyer, he's just been burdened with a videotape of a congressman's assassination. Hot on the tail of this tape is a ruthless group of National Security Agents commanded by a belligerently ambitious fed named Reynolds (Jon Voight). Using surveillance from satellites, bugs, and other sophisticated snooping devices, the NSA infiltrates every facet of Dean's existence, tracing each physical and digital footprint he leaves. Driven by acute paranoia, Dean enlists the help of a clandestine former NSA operative named Brill (Gene Hackman), and Enemy of the State kicks into high-intensity hyperdrive. Teaming up once again with producer Jerry Bruckheimer, Top Gun director Tony Scott demonstrates his glossy style with clever cinematography and breakneck pacing. Will Smith proves that there's more to his success than a brash sense of humor, giving a versatile performance that plausibly illustrates a man cracking under the strain of paranoid turmoil. Hackman steals the show by essentially reprising his role from The Conversation--just imagine his memorable character Harry Caul some 20 years later. Most of all, the film's depiction of high-tech surveillance is highly convincing and dramatically compelling, making this a cautionary tale with more substance than you'd normally expect from a Scott-Bruckheimer action extravaganza. --Jeremy Storey

Robert Clayton Dean (Will Smith) is a lawyer with a wife and family whose happily normal life is turned upside down after a chance meeting with a college buddy (Jason Lee) at a lingerie shop. Unbeknownst to the lawyer, he's just been burdened with a videotape of a congressman's assassination. Hot on the tail of this tape is a ruthless group of National Security Agents commanded by a belligerently ambitious fed named Reynolds (Jon Voight). Using surveillance from satellites, bugs, and other sophisticated snooping devices, the NSA infiltrates every facet of Dean's existence, tracing each physical and digital footprint he leaves. Driven by acute paranoia, Dean enlists the help of a clandestine former NSA operative named Brill (Gene Hackman), and Enemy of the State kicks into high-intensity hyperdrive. Teaming up once again with producer Jerry Bruckheimer, Top Gun director Tony Scott demonstrates his glossy style with clever cinematography and breakneck pacing. Will Smith proves that there's more to his success than a brash sense of humor, giving a versatile performance that plausibly illustrates a man cracking under the strain of paranoid turmoil. Hackman steals the show by essentially reprising his role from The Conversation--just imagine his memorable character Harry Caul some 20 years later. Most of all, the film's depiction of high-tech surveillance is highly convincing and dramatically compelling, making this a cautionary tale with more substance than you'd normally expect from a Scott-Bruckheimer action extravaganza. --Jeremy Storey

All 22 episodes from the second season--featuring such stories as "The Boy Who Predicted Earthquakes," "With Apologies to Mr. Hyde," "The Devil Is Not Mocked," "Hell's Bells," and "The Caterpillar"--are included in a five-disc set. 18 2/3 hrs. total. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH); art gallery; audio commentary on selected episodes; featurette; photo gallery; TV spots. **22 episodes on 5 discs. 18 2/3 hrs.**

Submitted for your approval, the second season of Night Gallery, Rod Serling's atmospheric anthology series that more often than not was in the Zone. Each week, Serling, acting as "an undernourished Alfred Hitchcock," played the role of host and curator of "a palladium of art treasures that range from the kooky to the uncommon, from the bestial to the bizarre." Comprised of original works and short story adaptations, Night Gallery's palette had many colors: touched-by-an-angel fantasy (the holiday fable "The Messiah on Mott Street"); the macabre ("Green Fingers"); the darkly comic ("The Late Mr. Peddington"); and the haunting ("The Tune in Dan's Cafe," which spawned the surprise country hit, "If You Leave Me Tonight I'll Cry"). Night Gallery has long resided in The Twilight Zone's shadow, but great art demands a second, closer look. At its best, Gallery featured superb writing (Serling's body snatcher gem, "Deliveries in the Rear") and great performances (Orson Welles as the narrator of "Silent Snow, Secret Snow"), but it was also a director's showcase for moods and aesthetics. A series benchmark is the terrifying, "The Caterpillar," starring Laurence Harvey as a man who gets an earful of earwig. In addition to Harvey, Gallery featured a stellar roster of actors who did not ordinarily do television, including Edward G. Robinson ("Mott Street"), Patrick O'Neal and Kim Stanley ("A Fear of Spiders"), and Geraldine Page ("Stop Killing Me" and the classic, "The Sins of the Fathers"). It also featured familiar faces in atypical roles, such as Laugh-In's verrrry interesting Arte Johnson as a womanizing radio disc jockey in "Flip Side of Satan," Pat Boone as a callous father considering a very special school for his delinquent son in "The Academy," and Rudy Vallee as a committed doctor, or at least one who should be, in "Marmalade Wine." Comic vignettes and blackouts between offerings are more miss than hit (in one, Death, riding in a crowded elevator, chivalrously removes his skull in the presence of a female rider), but they are brief and can be easily skipped. Museum goers who like audio tours to enhance their appreciation of the exhibits will appreciate episode commentaries by Jim Benson and Scott Skelton, who literally wrote the book on the series (Rod Serling's Night Gallery: An After-Hours Tour, and Pan's Labyrinth and Hellboy director Guillermo Del Toro. A series retrospective and a featurette spotlighting the artist who created the Gallery paintings featured in each episode make this DVD set one that is suitable for framing. --Donald Liebenson Amazon.com The second season of Night Gallery offers 22 more terror-filled tours for those "whose tastes in art run lean towards the bizarre," as host Rod Serling described its viewership; a wealth of extras spread across the set also makes this sophomore journey into darkness a worthwhile one for series devotees and TV horror fans in general. Though Serling was the face and frequent author of Night Gallery's episodes, his creative control over the series was fading by the second season (1971-1972); frequent clashes between Serling, the network and producer Jack Laird over the tone and direction of the show left the acclaimed television scribe feeling powerless over a series that used his Twilight Zone pedigree as its calling card. And while the hit-and-miss nature of the second season is unquestionable--episodes like "The Flip Side of Satan," "Professor Peabody's Last Lecture" and "Hell's Bells" are embarrassingly bad, as are Laird's short comic vignettes--but there are an equal number of terrific and memorable stories to be found in the set as well. Chief among them is the Serling-penned "The Caterpillar," a gruesome tale of revenge that stands as one of the most horrifying tales ever presented on television; Serling also provided the moving Christmas fable "The Messiah on Mott Street," which features one of Edward G. Robinson's last screen appearances, as well as "Class of '99" with Vincent Price and "The Academy," with a surprising and effective turn against type for Pat Boone. Other standouts include two H.P. Lovecraft adaptations, "Cool Air" and "Pickman's Model," and "Silent Snow, Secret Snow," which earns its chills from a combination of dreamlike visuals and narration by Orson Welles. For a show disregarded by critics and fans of Serling's early work (as well as by the man himself) the second season of Night Gallery offers more than its share of small-screen scares. Nearly all of the 22 episodes from Night Gallery's second season are contained in this five-disc set; two comic shorts, "Witches' Feast" and "Satisfaction Guaranteed," are missing or presented incomplete, respectively, though their absence has little to no impact on the set's value. Scott Skelton and Jim Benson, authors of the invaluable companion guide Rod Serling's Night Gallery: An After Hours Tour, provide a wealth of background information on the show in audio commentaries on three episodes, while director Guillermo Del Toro (Hellboy, Pan's Labyrinth) discusses the show's influence on his work in fascinating detail on three additional episodes. Revisiting The Gallery: A Look Back is a half-hour featurette that includes interviews with show contributors ranging from director John Badham and theme composer Gil Melle to actress Lindsay Wagner, while Art Gallery offers a glimpse at the show's evocative paintings with commentary by their creator, artist Tom Wright. A small battery of TV promos for the show round out the exemplary set, which should please fans who were disappointed by the lack of material in the first season presentation. --Paul Gaita

Steven Spielberg's masterful take on the H.G. Wells classic stars Tom Cruise as a divorced New Jersey Everyman whose weekend with kids Dakota Fanning and Justin Chatwin is shattered by an alien invasion. As the decidedly unfriendly E.T.s and their menacing tripods devastate the planet, Cruise bravely attempts to reach ex-wife Miranda Otto in Boston, encountering the best and worst of humanity along the way. Tim Robbins also stars. 117 min. Widescreen; Soundtracks: English DTS HD 5.1 Master Audio, French Dolby Digital 5.1, Portuguese Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: English (SDH), French, Portuguese, Spanish; featurette; theatrical trailers; more.

Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells's novel is basically a horror film packaged as a sci-fi thrill ride. Instead of a mad slasher, however, Spielberg (along with writers Josh Friedman & David Koepp) utilizes aliens hell-bent on quickly destroying humanity, and the terrifying results that prey upon adult fears, especially in the post-9/11 world. The realistic results could be a new genre, the grim popcorn thriller; often you feel like you're watching Schindler's List more than Spielberg's other thrill-machine movies (Jaws, Jurassic Park). The film centers on Ray Ferrier, a divorced father (Tom Cruise, oh so comfortable) who witnesses one giant craft destroy his New Jersey town and soon is on the road with his teen son (Justin Chatwin) and preteen daughter (Dakota Fanning) in tow, trying to keep ahead of the invasion. The film is, of course, impeccably designed and produced by Spielberg's usual crew of A-class talent. The aliens are genuinely scary, even when the film--like the novel--spends a good chunk of time in a basement. Readers of the book (or viewers of the deft 1953 adaptation) will note the variation of whom and how the aliens come to Earth, which poses some logistical problems. The film opens and closes with narration from the novel read by Morgan Freeman, but Spielberg could have adapted Orson Welles's words from the famous Halloween Eve 1938 radio broadcast: "We couldn't soap all your windows and steal all your garden gates by tomorrow night, so we did the best next thing: we annihilated the world." --Doug Thomas War of the Worlds at Amazon.com The Soundtrack The War of the Worlds (1953) War of the Worlds - The Complete First Season (TV series) Classic Sci-Fi Movies and Their Remakes Aliens Invade on DVD The Prog-rock Opera (no kidding)

HGWells' fantastic tale of Alien Invasion is brought to the screen ! This is the ORIGINAL 1953 version that still shocks the world today ! Gene Barry and Ann Robinson star .

This is our larger box. It's a brand new facsimile, similar to but not an exact replica of Marx's original play set box. .................. This price is for the box only. Our boxes are used by many collectors as an ideal way to house their Marx play sets when they do not have the original box or the original is too fragile or valuable for storage. It has artwork on the top, front, back, and both side panels. .................. Our large box measures 28 ¼ x 16 x 5 inches and is printed and mounted on heavy white corrugated. We are fighting hard to keep ours costs low as our expenses rise. We are able to offer these boxes for only $89.99 each plus shipping. .................. We also offer this box in our regular size, measuring 24 ½ x 14 ¼ x 4 ½ inches with a thumb cutout for only $69.99, listed separately on Amazon. .................. Ship two boxes for only one shipping fee! Our shipping charge includes insurance and is only $20.00 in the continental U.S. If you purchase any one of our large boxes and any one standard size box, they fit inside each other and you will receive both for the same $20 shipping fee. .................. We also ship to Alaska, Hawaii, Canada and other locations; please contact us for additional pricing.

This is a brand new box. It's a facsimile, similar to, but not an exact replica of, Marx's original play set box. .................. This price is for the box only. Our boxes are used by many collectors as an ideal way to house their Marx play sets when they do not have the original box or the original is too fragile or valuable for storage. It has artwork on the top, front, back, and both side panels. A small thumb cutout offers easy opening. .................. Our box measures 24 ½ x 14 ¼ x 4 ½ inches and is printed and mounted on heavy white corrugated. We are fighting hard to keep ours costs low as our expenses rise. We are able to offer these boxes again for only $69.99 each plus shipping. .................. We also offer this box in a larger size, measuring 28 ¼ x 16 x 5 inches (with no thumb cutout) for only $89.99, listed separately on Amazon. .................. Ship two boxes for only one shipping fee! Our shipping charge includes insurance and is only $20.00 in the continental U.S. If you purchase any one of our large boxes and any one standard size box, they fit inside each other and you will receive both for the same $20 shipping fee. .................. We also ship to Alaska, Hawaii, Canada and other locations; please contact us for additional pricing.

Are you frustrated by low-fat/high-carbohydrate or all-protein diets that don't work? Tired of white-knuckle restrictions or doing math at every meal? Fed up with a constant craving for sugars and carbohydrates? Do you wish you had a magic formula for losing weight and keeping it off? Well, now you do. . . . Pioneering weight loss and certified sports nutritionists Gene and Joyce Daoust have personally helped thousands of people lose weight, tone up, and enjoy a healthier, more fit lifestyle. Their advice? Drop the rice cakes and calorie-counting, and stop trying to figure out those complicated "food blocks." The Formula teaches an easy way to balanced nutrition that will have you burning fat 24-hours a day while eating foods you enjoy! Featuring menu plans, shopping lists, and progress charts, The Formula provides a personalized program for each person's specific needs and body type. So whether you're a couch potato, a professional athlete, or somewhere in between, you'll discover:* Five different versions of the Formula--and how to find the right one for your weight and activity level* The 21-Day Fat Flush Formula for accelerated weight loss* More than 200 delicious recipes, including perfectly balanced 40-30-30 fajitas, chili, pork tenderloin, and New York cheesecake* Special Kids' Favorites and Family Style meals* Healthy advice on prepared foods, fast foods, and vegetarian meals A plan for life, The Formula is a dieter's dream--the lifetime secret to losing weight, staying slim, and feeling great!

So you've tried high-protein/low-carb diets, high-carb/low-protein diets, the grapefruit diet, the cabbage soup diet, and nothing seems to be working. The reason? According to clinical nutritionists Gene and Joyce Daoust, most diets are not balanced, not personalized, and not easy to follow. To help put you on the track to successful weight loss (and maintenance), the Dousts, who worked with Dr. Barry Sears to develop and test the 40-30-30 Zone nutrition program, have written The Formula: A Personalized 40-30-30 Weight Loss Program. The Formula is based on the premise that if each meal or snack contains 40 percent of its total calories from carbohydrates, 30 percent from protein, and 30 percent from fat, your body will maintain the proper balance of insulin to glucagon and thus burn excess fat all the time--even while you sleep. Sound complex? Don't worry. For those who care to know how to determine the caloric ratio of a meal, the science behind the diet is explained thoroughly. For the rest of us, however, the authors have done all the work ahead of time. The book includes a 21-day "Fat-Flush" diet plan with over 100 easy-to-prepare meal choices and recipes--including eggs and bacon, Chicken Caesar Salad, and vegetable lasagna--as well as the "Formula for Life" maintenance plan. And, since the program boasts personal nutrition, the "Meal Plan Selection" chart makes it easy to determine how much to eat based on your gender, weight, and activity level. Although slightly labor intensive (but try to find a diet that isn't), The Formula offers helpful tips and suggestions for sticking to the plan when you are traveling, out for dinner, or simply not able to prepare your meals ahead of time. --Bree Altman

This book started as a story written to a gangster girl in prison and follows her after she gets out. Her adventures were combined with some very unusual characters that were taking a special trip into the future.

This book started as a story written to a gangster girl in prison and follows her after she gets out. Her adventures were combined with some very unusual characters that were taking a special trip into the future.