Kennedy Center

Collectible Glass Mug trimmed in 22k gold. Reads,"KENNEDY SPACE CENTER/ NASA on etched design trimmed in gold, on one side ...other side reads," SPACE SHUTTLE and has a picture of the shuttle in gold on etched glass trimmed in gold. Heavy and beautifully designed!

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John F. Kennedy Center for the Performing Arts, Washington D.C., United States of America, North America.

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Poor Patsy has been gussied up and repackaged so many times that only Elvis and Hank Williams can rival her for Most Popular Dead Star. This collection of 32 tracks on two CDs doesn't really live up to its name--it's hard to imagine an "ultimate" anthology that omits "There He Goes" and "Three Cigarettes in an Ashtray" over such inclusions as "Bill Bailey, Won't You Please Come Home." But for fans who want more than a single CD and less than a box set, there's plenty here that thrills, and not just the major hits. Listen, for example, to Cline's pinpoint intonation on "I Love You So Much It Hurts," or how she nails the stratospheric last note on ol' Hank's "Lovesick Blues." Production-wise, some of Owen Bradley's Nashville Sound seems dated, of course, but emotionally, it all sounds so intimate as to have been piped in from the grave. Lord knows there's no contemporary Nashville singer wielding this kind of artistry. Or, for that matter, moxie. --Alanna Nash

The Ultimate Collection: Patsy Cline by Patsy ClineThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

Timeless traditions and contemporary anxieties clash musically and theatrically in Leonard Bernstein's powerful but rather neglected "Theatre Piece for Singers, Players and Dancers," The dancers are omitted in this semi-staged performance, produced for the Vatican's Jubilee 2000 celebration, but the show's eclectic musical brilliance, its adept mingling and clash of musical styles, its contrasts of hope and anxiety, faith and unbelief, ancient serenity and modern dissatisfaction are all brilliantly conveyed. More than 30 years after its premiere, for the opening of the Kennedy Center for the Performing Arts in Washington, D.C., Mass still has the impact of this morning's newspaper headlines. Only Bernstein, a crossover genius, could have produced this score, which mingles folk and ecclesiastical styles, choral and solo vocals, spoken dialogue and dramatic gestures, classical, rock, blues, Broadway-style tunes, gospel, electronic effects, Hebrew prayer, a symphony orchestra, and a kazoo ensemble, and made it all work together with shattering impact. The enormous cast of this production is equal to all its stylistic and musical demands, and the cameras and microphones capture it all effectively. --Joe McLellan

Commissioned by Jacqueline Kennedy Onassis to commemorate her slain husband, this stirring performance was recorded as part of the Jubilee 2000 celebrations of the Roman Catholic Church. Join Leonard Bernstein, over 200 performers and a company of 45 dancers for an unforgettable religious experience. 118 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital stereo, Latin Dolby Digital stereo.

2001: A Space Odyssey took the world on a mind-bending trip to outer space, but Fantastic Voyage is the original psychedelic inner-space adventure. When a brilliant scientist falls into a coma with an inoperable blood clot in the brain, a surgical team embarks on a top-secret journey to the center of the mind in a high-tech military submarine shrunk to microbial dimensions. Stephen Boyd stars as a colorless commander sent to keep an eye on things (though his eyes stay mostly on shapely medical assistant Raquel Welch), while Donald Pleasance is suitably twitchy as the claustrophobic medical consultant. The science is shaky at best, but the imaginative spectacle is marvelous: scuba-diving surgeons battle white blood cells, tap the lungs to replenish the oxygen supply, and shoot the aorta like daredevil surfers. The film took home a well-deserved Oscar for Best Visual Effects. Director Richard Fleischer, who turned Disney's 1954 20,000 Leagues Under the Sea into one of the most riveting submarine adventures of all time, creates a picture so taut with cold-war tensions and cloak-and-dagger secrecy that niggling scientific contradictions (such as, how do miniaturized humans breathe full-sized air molecules?) seem moot. --Sean Axmaker

Bert Glennon, who shot Stagecoach and seven other John Ford classics, has given this Raoul Walsh biopic of George Armstrong Custer a burnished glow--an evocative interplay of raw sunlight and elegiac shadow like no other vintage Warner Bros. Western. Glennon's artistry and Walsh's trademark gusto sustain enthusiasm even as the screenplay beggars belief. The flamboyant Custer (Errol Flynn), rushed into Civil War service straight from West Point, did get promoted overnight to general and establish a spectacular record for "ride to the guns" leadership. However, Custer as defender of Indians' rights--to the point of willing his own Last Stand so he could accuse corrupt Indian Commissioners from the grave--is historical rewrite of such sweeping chutzpah as to shame DeMille. Flynn and Olivia de Havilland make an even more appealing couple than usual, and the big supporting cast is unflaggingly energetic above and beyond the call of duty. --Richard T. Jameson

A strong candidate for the designation of most thrilling action movie ever made (the turbo-charged exhilaration of its full-throttle highway chases has never been equaled), the second part of George Miller's post-apocalyptic trilogy is also a magnificently imagined movie myth. Like the Star Wars trilogy (by that other George) the Mad Max films draw their inspiration from the works of mythologist Joseph Campbell. In the 1979 original, Max (Mel Gibson) is a policeman, the last guardian of civilization and order in a devastated world reduced to chaos. But when a leather-clad gang of sadomasochistic speed demons mows down Max's family, his remaining connections to humanity are also permanently severed. After brutally exacting his revenge, Max wanders off into the wasteland alone, "a burned out shell of a man" who (to paraphrase The Searchers) is destined to wander forever between the winds. In The Road Warrior, Max rediscovers a sliver of his shattered humanity, and a spark of redemption, when he helps an embattled colony of pioneers fight off the savages who are after that most precious of all commodities: "guzzline." Max is transformed into a legendary hero, just as Mel Gibson was catapulted to international movie stardom. With its final stirring images, The Road Warrior transcends its genre (whatever that may be--science fiction? Western? action adventure?) and becomes something timeless. It's a great movie. --Jim Emerson

When released in December 2000, Thirteen Days was pummeled for taking liberties with the facts of the Cuban missile crisis and smothering its compelling drama with phony Boston accents by its primary stars. More tolerant critics hailed it as one of the year's best films, and that's the opinion to believe for anyone who enjoys taut, intelligent political thrillers. For those too young to relate directly to the timeless urgency of the crisis that played out over 13 days in October 1962, Thirteen Days joins the classic TV treatment The Missiles of October (1973) as an intense and thought-provoking study of leadership under pressure. The film (and costar-coproducer Kevin Costner) drew criticism for fictionally enhancing the White House role of presidential aide Kenneth O'Donnell, but while Costner's Boston accent may be grating, his fine performance as O'Donnell offers expert witness to the crisis, its nerve-wracking escalation, and the efforts of John F. Kennedy (Bruce Greenwood) and Robert F. Kennedy (Steven Culp) to negotiate a peaceful settlement with Russia. While Soviet missiles approach operational status in Cuba, director Roger Donaldson (who directed Costner in No Way Out) cuts to exciting U.S. Navy flights over the missile site, ramping up the tension that history itself provided. Donaldson's occasional use of black and white is self-consciously distracting, and he's further guilty of allowing a shrillness (along with repetitive, ominous shots of nuclear explosions) to invade the urgency of David Self's screenplay. Still, as Hollywood history lessons go, Thirteen Days is riveting stuff. You may find yourself wondering what might happen if reality presented a repeat scenario under less intelligent leadership. --Jeff Shannon

October, 1962: with the U.S. and the U.S.S.R. close to drawing the world into nuclear war over the Cuban Missile Crisis, President John F. Kennedy (Bruce Greenwood) calls on Attorney General brother Robert F. Kennedy (Steven Culp), advisor Kenny O'Donnell (Kevin Costner), and others to help him in an intense game of brinkmanship. Compelling historical drama also stars Dylan Baker, Kevin Conway; directed by Roger Donaldson. 147 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1; audio commentary; "making of" featurette; documentaries; featurette; deleted scenes; theatrical trailer; scene access.

2001: A Space Odyssey took the world on a mind-bending trip to outer space, but Fantastic Voyage is the original psychedelic inner-space adventure. When a brilliant scientist falls into a coma with an inoperable blood clot in the brain, a surgical team embarks on a top-secret journey to the center of the mind in a high-tech military submarine shrunk to microbial dimensions. Stephen Boyd stars as a colorless commander sent to keep an eye on things (though his eyes stay mostly on shapely medical assistant Raquel Welch), while Donald Pleasance is suitably twitchy as the claustrophobic medical consultant. The science is shaky at best, but the imaginative spectacle is marvelous: scuba-diving surgeons battle white blood cells, tap the lungs to replenish the oxygen supply, and shoot the aorta like daredevil surfers. The film took home a well-deserved Oscar for Best Visual Effects. Director Richard Fleischer, who turned Disney's 1954 20,000 Leagues Under the Sea into one of the most riveting submarine adventures of all time, creates a picture so taut with cold-war tensions and cloak-and-dagger secrecy that niggling scientific contradictions (such as, how do miniaturized humans breathe full-sized air molecules?) seem moot. --Sean Axmaker

Academy Award-winning, special effects-filled adventure follows an expedition through the human body by a team of miniaturized scientists. Have you ever seen killer white corpuscles? A close-up look at the human heart in action? This sci-fi classic has this...plus Raquel Welch in a wet suit! Stephen Boyd, Donald Pleasence co-star. 100 min. Widescreen; Soundtracks: English Dolby Digital Surround, Dolby Digital mono, French Dolby Digital mono, Spanish Dolby Digital mono; Subtitles: English, Spanish; art gallery; audio commentary; deleted scene; featurette; photo gallery; poster gallery; screen tests; storyboards; TV spots; theatrical trailers.

"Apoplectic" is the word to describe Lewis Black's 2006 engagement at Washington DC's Warner Theater. There's eye-crossing, teeth-gnashing, raspy-voiced yelling, and liberal use of the f-word. (As Black reveals, the Kennedy Center refused their facilities on the grounds that he used the word 42 times in his first hour-long HBO special.) Then again, George W. Bush's second term has given the comedian much to be apoplectic about--Dick Cheney's hunting mishap, airport (in)security, the president's support of creationism, and the inanity of 24-hour cable news. At one point, he admits, "I just can't keep up with all the...stuff," although that isn't his exact phrase. Lest potential viewers think Black (The Daily Show, Black on Broadway) is nothing but a blue state apologist, he makes his distaste for John Kerry clear, i.e. "The fact of the matter is for the Democrats not to be able to find somebody who could've defeated George Bush is beyond belief--it's stunning." Black also explores misconceptions about Judaism, the media obsession with Terry Schiavo, and myths about the "homosexual agenda," which is to say: there isn't one. A few too many excretory jokes aside, Black otherwise makes good points and produces hearty laughs--some from his proud parents, who are part of the audience. As for the extras, they're brief, but amusing, and English is the only audio option. --Kathleen C. Fennessy

Get back in Black with this hilarious HBO special from the Comedy Central commentator recorded at Washington, D.C.'s Warner Theatre. With his unique delivery and acerbic wit, Black rants about a number of topics that impact contemporary American life--including abortion, President George W. Bush, bad language, FEMA's response to Hurricane Katrina, and other controversial subjects. 75 min. Standard; Soundtracks: English Dolby Digital 5.1, Dolby Digital stereo; footage; featurette; outtakes; TV spots.

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