Mario All

Shaped like a beehive, this stylish stainless steel kettle is perfect for coffee dripping. A long, slender spout allows for a slim and smooth flow when pouring. It features a black easy-grip handle and a lid with three mini ventilation holes. "best new product" winner at world tea expo 2009

As seen on TV. 2 piece mold set made of flexible, non-stick silicone. Bake giant cupcakes! 25x bigger cupcake! Package Includes: cupcake top; cupcake bottom. Bonus! Easy-fill insert and idea book. Use the easy-fill insert to add your favorite filling! Ice cream; pudding; gelatin; fruit; candy; whipped cream. Made of flexible non-stick silicone. Dishwasher safe. Add any filling. Mix and match - make a vanilla top with a chocolate bottom! Perfect for any occasion. The ultimate party activity! Made in China.

Bake, slice, and serve pizza all at once with this pizza stone and cutting wheel combo by All-Clad. Easy to use and transport, the stone rests on a stainless steel tray that uses stay-cool handles. The stone itself, which distributes heat to the pizza crust and helps to retain moisture, is oven safe up to 400¿F and can also act as a serving tray. It cures over time, or can be oiled if desired. Included is a cutting wheel, which easily slices the pizza while providing comfort through the easy-grip handle. Producing some of the finest cookware in the nation, All-Clad has been featured in many high class and gourmet restaurants for its superior performance and aesthetically designed pieces crafted from American artists using the finest metals. A firm believer in quality over convenience, All-Clad's metals are formulated and bonded with cooking performance in mind, and are combined with stunning designs to provide you with the best cooking experience possible.

There are thousands upon thousands of children's albums out there, but the one that quietly left its mark with more '70s children than perhaps any other album was this disc. Free to Be...You and Me was a pet project of proud feminist Marlo Thomas (a.k.a. "That Girl"), and it was born--according to the liner notes--by the desire to provide her niece with music "to celebrate who she was and who she could be." Harry Belafonte sings "Parents Are People," ex-football great Rosie Grier offers an incredible, touching melody titled "It's All Right to Cry," and Diana Ross waxes future-positive on "When We Grow Up." A great hour of brain food for young--and not-so-young--children. --Denise Sheppard

The iconic pet project of Marlo Thomas. Features Harry Belafonte, Rosie Grier, Mel Brooks, and Diana Ross.A great hour of brain food for the young—and not-so-young.

Fire Sale - Kootie Pie steals Mama Fireplant the sourceof the Cave People s fire so Mario Luigi Princess Toadstool and Yoshigo to Ice Land where Yoshi must overe his fear of water to rescuehis friends and save Mama Fireplant from being extinguished forever. Mama Luigi - In a flashback Luigi tells Yoshi how Luigirescued Yoshi as an egg how Baby Yoshi thought Luigi was his motherand how Baby Yoshi helped Luigi and Mario rescue Princess Toadstool fromKing Koppa and became their permanent ally. Born to Ride - After being scolded by Mario and LuigiYoshi runs away and joins a motorcycle-riding Evil Dinosaur Gang whouses him to kidnap the Mario Brothers for King Koopa. When Yoshi findsout he was being played for a sucker he enlists the help of PrincessToadstool and they ride to the rescue. The Yoshi Shuffle - When Luigi is turned into an egg andYoshi mistakes him for a football. Yoshi leads Mario on a madcap chasethrough Dinosaur World. When the Koopas join in it bees the biggestwildest football game of Mario s life.A Little Learning - Princess Toadstool starts a schoolwith Yoshi and Oogtar with Hip & Hop as her first students. The kidsbee sworn enemies and their desire for revenge culminates in adisastrous science fair that threatens to blow up the entire Dinosaurworld!The Night Before Cave Christmas - Mario decides to bringChristmas to the Cave People. Luigi and Princess Toadstool make toys andwrap gifts Mario dresses up as Santa Claus and Yoshi pulls the cavesleigh . But when King Koopa Grinch -like steals the toybag withOogtar inside Mario must save Cave Christmas.   Format: DVD MOVIE Genre: CHILDREN Rating: NR Age: 843501001356 UPC: 843501001356 Manufacturer No: 100135

Studio: Warner Home Video Release Date: 07/29/2008 Run time: 60 minutes Rating: Nr

There's an extra coat of hot wax on Pixar's vibrant, NASCAR-influenced comedy about a world populated entirely by cars. Lightning McQueen (voiced by Owen Wilson) is the slick rookie taking the Piston Cup series by storm when the last race of the season (the film's high-octane opening) ends in a three-way tie. On the way to the tie-breaker race in California, Lightning loses his way off Route 66 in the Southwest desert and is taught to stop and smell the roses by the forgotten citizens of Radiator Springs. It's odd to have such a slim story from the whizzes of Pixar, and the film pales a bit from their other films (though can that be a fair comparison?). Nonetheless, Cars is another gleaming ride with Pixar founder John Lasseter, who's directing for the first time since Toy Story 2. There's the usual spectrum of excellent characters teamed with appropriate voice talent, loads of smooth humor for kids and parents alike, knockout visuals, and a colorful array of sidekicks, including a scene-stealing baby blue forklift named Guido. Lightning's plight is changed with the help of former big-city lawyer Sally Carrera (Pixar veteran Bonnie Hunt), the town's patriarch Doc Hudson (Paul Newman), and kooky tow truck Mater (Larry the Cable Guy). The Incredibles was the first Pixar film to break the 100-minute barrier, but had enough story not to suffer; Cars, at 116 minutes (including some must-see end credit footage), is not as fortunate, plus it never pierces the heart. Trivia fans should have bonanza with the frame-by-frame DVD function; the movie is stuffed with in-jokes, some appearing only for an instant. Ages 5 and up. --Doug Thomas

Studio: Buena Vista Home Video Release Date: 11/06/2007 Run time: 116 minutes Rating: G

Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce Reid

People used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather - Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

The Godfather received Academy Awards for Best Picture, Best Actor and Best Adapted Screenplay, and has been selected for preservation in the United States National Film Registry. In addition, it had been ranked third-behind Citizen Kane (1941) and Casablanca (1942)-on the AFI's 100 Years...100 Movies list by the American Film Institute, and second when the list was published again in 2007.

Summon your courage, unleash your imagination and prepare for an adventure beyond your wildest dreams. Featuring incredible special effects, thrilling martial-arts action and nonstop adventure, Warriors of Virtue is a dazzling film and "excellent family entertainment" (Paul Wunder, WBAI)! The journey begins when young Ryan (Mario Yedidia), a typical teen, is swept into very unusual circumstances. After an innocent dare goes wrong, Ryan is magically transported to Tao, a beautiful fantasy land whose sole lifespring is defended by the brave, kangaroo-like, kung fu-fighting Warriors of Virtue. But the Warriors may have met their match in an evil warlord named Komodo (Angus MacFadyen) who wants Tao's lifespring for his very own. Can the Warriors stop him before Tao is lost forever? Only if Ryan can find the power within himself to put an end to all the evil.

771SCS You've played the game, now bring it to your walls! Race around Mario Circuit, Coconut Mall, Koopa Cape, or just your bedroom walls with these fun wall decals. These repositionable wall stickers feature Mario, Luigi, Princess Toadstool, Bowser, and more of your favorite characters on karts, cars, and bikes. Mario Kart Wii fans of all ages will love the way these graphics look on the walls of bedrooms or gaming areas! And because every elements is removable and repositionable, the designs can be moved and reused countless times without damaging the wall or leaving behind any sticky residue. Craving more Nintendo action? Check out the coordinating giant Mario Kart Wii wall decal. Features: -Wall decal. -Repositionable and removable with no damage to walls or surface. -4 Sheets 10'' x 18''. -Comes with 34 elements. -Assembly required. -Made in the USA.

Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce ReidOn the DVDPeople used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather: Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

People used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather - Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

Four-disc boxed set includes "The Godfather," "The Godfather, Part II" and "The Godfather, Part III," and a disc of special features.

Disney's 1959 animated effort was the studio's most ambitious to date, a widescreen spectacle boasting a gorgeous waltz-filled score adapting Tchaikovsky. In the 14th century, the malevolent Maleficent (not dissimilar to the wicked Queen in Disney's Snow White and the Seven Dwarfs taunts a king that his infant Aurora will fatally prick her finger on a spinning wheel before sundown on her 16th birthday. This, of course, would deny her a happily-ever-after with her true love. Things almost but not quite turn out that way, thanks to the assistance of some bubbly, bumbling fairies named Flora, Fauna, and Merryweather. It's not really all that much about the title character--how interesting can someone in the middle of a long nap be, anyway? Instead, those fairies carry the day, as well as, of course, good Prince Phillip, whose battle with the malevolent Maleficent in the guise of a dragon has been co-opted by any number of animated films since. See it in its original glory here. And Malificent's castle, filled with warthogs and demonic imps in a macabre dance celebrating their evil ways, manages a certain creepy grandeur. --David Kronke On the DVDSleeping Beauty was the last and most lavish of Walt Disney's animated fairy tales. He told the artists not to hurry and to give him "a moving illustration": The film required almost four and one-half years and one million finished drawings. Instead of the 19th century storybook illustrations that had influenced the look of Snow White and Pinocchio, the artists adapted the flattened perspective and jewel-like colors of 15th century French illuminated manuscripts. The results remain unmatched for sheer visual opulence. However, Sleeping Beauty suffers from a weak story: the vision of an ageless princess slumbering in a vine-shrouded tower was replaced with elements of Snow White and a boy-meets-girl musical. The evil Maleficent and the three Good Fairies (Flora, Fauna, and Merryweather) dominate the film, rather than Princess Aurora and Prince Philip. Sleeping Beauty was originally released in 70mm, and the Blu-ray edition restores the film to its original splendor. (Many earlier releases trimmed the wide-screen images and/or muted the glowing palatte.) The Bonus DVD looks good on a flat screen monitor, but it pales in comparison to the richness of the Blu-ray. In addition to the commentaries and a making-of documentary, the set includes myriad extras that vary widely in quality. Nostalgia buffs will enjoy the recreation of the old Sleeping Beauty's Castle attraction in Disneyland, and the TV program "Four Artists Paint One Tree" provides a welcome showcase for key talents from the film. But the CG animation of the dragon and the voice imitations of the Good Fairies fail to capture the magic of the originals in the "Dragon Encounter"; the "Maleficent's Challenge Game"--a hi-tech Twenty Questions--sounds only vaguely like the redoubtable sorceress. (Rated G: violence) --Charles Solomon Stills from Sleeping Beauty (Click for larger image)

A beautiful princess born in a faraway kingdom is destined by a terrible curse to prick her finger on the spindle of a spinning wheel and fall into a deep sleep which can only be awakened by true love's first kiss. Though the titular princess is on par with the rest of Disney's essential heroines, most of the fun arises from the trio of charming fairies entrusted with her care: Flora, Fauna, and Meriweather. Meanwhile the evil Malificent may just be Disney's most chilling villainess. This classic makes wondrous use of Tchaikovsky's same-titled ballet score, which earned SLEEPING BEAUTY an Academy Award nomination for Best Scoring of a Musical Picture.

The roar of a motorcycle can signal freedom--or trouble. Sons of Anarchy examines a biker gang from both perspectives, as Jackson "Jax" Teller (Charlie Hunnam, Nicholas Nickleby) struggles between loyalty to the Sons of Anarchy Motorcycle Club, Redwood Originals (aka SAMCRO or "Sam Crow," which his dead father founded) and doubts about the criminal and often brutal actions the club demands of him. The series opens with a rival gang stealing the Sons' stash of guns and the premature birth of Jax's son, two events that sow questions in Jax's mind about the life he's leading. Over the course of the season, these questions will spark dangerous conflict with the gang's leader, Clay Morrow (Ron Perlman, Hellboy) and with his own mother, Gemma (Katey Sagal, Married with Children), who's now married to Clay. Despite the macho setting, Gemma is the standout character of the first season of Sons of Anarchy: fierce and manipulative, she sets the good of the club (and her own desires) above everything else--even her love for her son. Despite the lingering presence of his junkie ex-wife (Drea de Matteo, The Sopranos), Jax finds himself drawn to his high school sweetheart, Tara Knowles (Maggie Siff, Mad Men), now a doctor, and who saved his son's life. Throughout the first season of Sons of Anarchy, SAMCRO grapples with a multicultural array of foes: Hispanic bikers, African-American gangbangers, white supremacists, an Asian triad, and agents of the ATF. Uneasy alliances and precarious compromises rarely work out as planned, leading to nail-biting confrontations and headaches for Jax. But the rituals and emotional bonds of the club itself are the real subject of the show--how an institution built on friendship and family loyalty gets twisted by ambition and greed. One particularly compelling story line follows Jax and his best friend, Opie (Ryan Hurst, Remember the Titans), who had stepped away from the gang to make peace with his wife; to help Jax, he reenters the biker life, with horrific consequences. The creator of Sons of Anarchy, Kurt Sutter, was a writer and actor on The Shield, and fans of that show will find a similarly compelling mixture of scheming machinations and compromised morality here, grounded in excellent performances and vivid production. --Bret Fetzer Stills from Sons of Anarchy: Season One (Click for larger image)

All 13 first-season episodes--including "Pilot," "Patch Over," "Old Bones," "Hell Followed," and "The Revelator"--are featured in a four-disc set. 10 hrs. total. Widescreen; Soundtracks: English Dolby Digital 5.1, Spanish Dolby Digital Surround; Subtitles: English, Spanish, Portuguese, Korean, Cantonese, Mandarin, French; audio commentary; "making of" documentary; deleted scenes; featurettes. **13 episodes on 4 discs. 9 2/3 hrs.**

Our best selling Pimple Healer, Drying Lotion is an excellent Acne spot treatment made with a blend of Calamine and Salicylic Acid to clear up and soothe unsightly whiteheads overnight. A dab of this lotion will heal and dry pimples quickly. Ingredients: Isopropyl Alcohol, Deionized Water (Aqua), Calamine, Camphor, Colloidal Sulfur, Salicylic Acid, Glycerine, Zinc Oxide, Titanium Dioxide, Talc Good for these Skin Types: All Types

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