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Perfect for that extra-large helping of morning brew, this 20-oz Friends Central Perk Mug features the ''Central Perk'' logo with white polka-dots. It's wide top also leaves plenty of room for dunking your 'sneezemuffins.'

When it was released during Hollywood's golden year of 1939,The Wizard of Oz didn't start out as the perennial classic it has since become. The film did respectable business, but it wasn't until its debut on television that this family favorite saw its popularity soar. And while Oz's TV broadcasts are now controlled by media mogul Ted Turner (who owns the rights), the advent of home video has made this lively musical a mainstay in the staple diet of great American films. Young Dorothy Gale (Judy Garland), her dog, Toto, and her three companions on the Yellow Brick Road to Oz--the Tin Man (Jack Haley), the Cowardly Lion (Bert Lahr), and the Scarecrow (Ray Bolger)--have become pop-culture icons and central figures in the legacy of fantasy for children. As the Wicked Witch who covets Dorothy's enchanted ruby slippers, Margaret Hamilton has had the singular honor of scaring the wits out of children for more than six decades. The film's still as fresh, frightening, and funny as it was when first released. It may take some liberal detours from the original story by L. Frank Baum, but it's loyal to the Baum legacy while charting its own course as a spectacular film. Shot in glorious Technicolor, befitting its dynamic production design (Munchkinland alone is a psychedelic explosion of color and décor), The Wizard of Oz may not appeal to every taste as the years go by, but it's required viewing for kids of all ages. --Jeff Shannon

When it was released during Hollywood's golden year of 1939, The Wizard of Oz didn't start out as the perennial classic it has since become. The film did respectable business, but it wasn't until its debut on television that this family favorite

Studio: Ncircle Entertainment Release Date: 12/31/2007

If you're not a Tenacious D fan already, The Complete Master Works might make you an instant convert (or scare you away; it all depends). One thing's for sure: If you thought "the D" were nothing more than a novelty act, this two-disc feast will set you straight, proving that classically trained guitarist Kyle Gass and fast-rising comedy star Jack Black (School of Rock) are a bona fide acoustic power duo, scorching the pop-cultural landscape with their satirically scathing lyrics while qualifying as legitimate musicians with awesome chops and just enough insanity to make them dangerous on stage. Disc 1 ("For Fans") is all meat and potatoes, consisting of a brilliant concert (taped at London's Brixton Academy, November 3, 2002) in which Black casts himself as an abrasive provocateur, daring to offend "KG" and the audience alike with barbed taunts and spiteful attitude (all faked, of course, but convincing enough to sucker the gullible). The musicianship is first-rate, and Black's vocals remarkably spry, a deft combination of rapid-fire scatting and heavy-metal worship. The HBO episodes chronicle TD's early years as their popularity was still mostly an L.A.-based phenomenon, and without exception they're wet-your-pants hilarious. Disc 2 is aptly dubbed "For Psycho Fans," offering a potpourri of TD ephemera for true devotees, including three HBO short films that are gross enough (and funny enough) to make any Farrelly Brothers comedy look positively tame by comparison (in other words, this definitely isn't kid's stuff). The TV appearances are somewhat redundant with the concert material, and the "On the Road" video diaries are perfunctory but fun. The best is saved for last: two music videos paired with "making-of" featurettes, including Spike Jonze's fantasy-oriented video for "Wonderboy," and a devilishly adult-oriented video for "FHG" (salacious "D" fans know what that means) from the animators of Ren & Stimpy. If you're offended, don't blame "Kage" and "Jables"--their Tenacious DVD has "Parental Advisory" clearly stamped on its cover, and prudes are well-advised to stay away. --Jeff Shannon

Satiric rockers Tenacious D (Jack Black and Kyle Gass) take the spotlight in a two-disc program that offers a fabulous overview of the cult group. A live 2002 concert from London's Brixton Academy, the six-episode HBO series that told the story of D's early days, music videos, and TV appearances are among the goodies here. Songs include "Wonderboy," "Friendship," "Dio," and "The Cosmic Shame." 206 min. Standard; Soundtrack: English Dolby Digital 5. 1.

Star Trek I : The Original Motion PictureBack when the first Star Trek feature was released in December 1979, the Trek franchise was still relatively modest, consisting of the original TV series, an animated cartoon series from 1973-74, and a burgeoning fan network around the world. Series creator Gene Roddenberry had conceived a second TV series, but after the success of Star Wars the project was upgraded into this lavish feature film, which reunited the original series cast aboard a beautifully redesigned starship U.S.S. Enterprise. Under the direction of Robert Wise (best known for West Side Story), the film proved to be a mixed blessing for Trek fans, who heatedly debated its merits; but it was, of course, a phenomenal hit. Capt. Kirk (William Shatner) leads his crew into the vast structures surrounding V'Ger, an all-powerful being that is cutting a destructive course through Starfleet space. With his new First Officer (Stephen Collins), the bald and beautiful Lieutenant Ilia (played by the late Persis Khambatta) and his returning veteran crew, Kirk must decipher the secret of V'Ger's true purpose and restore the safety of the galaxy. The story is rather overblown and derivative of plots from the original series, and avid Trekkies greeted the film's bland costumes with derisive laughter. But as a feast for the eyes, this is an adventure worthy of big-screen trekkin'. Douglas Trumbull's visual effects are astonishing, and Jerry Goldmith's score is regarded as one of the prolific composer's very best (with its main theme later used for Star Trek: The Next Generation). And, fortunately for Star Trek fans, the expanded 143-minute version (originally shown for the film's network TV premiere) is generally considered an improvement over the original theatrical release. --Jeff ShannonStar Trek II :The Wrath of KhanAlthough Star Trek: The Motion Picture had been a box-office hit, it was by no means a unanimous success with Star Trek fans, who responded much more favorably to the "classic Trek" scenario of Star Trek II: The Wrath of Khan. Inspired by the "Space Seed" episode of the original TV series, the film reunites newly promoted Admiral Kirk with his nemesis from the earlier episode--the genetically superior Khan (Ricardo Montalban)--who is now seeking revenge upon Kirk for having been imprisoned on a desolated planet. Their battle ensues over control of the Genesis device, a top-secret Starfleet project enabling entire planets to be transformed into life-supporting worlds, pioneered by the mother (Bibi Besch) of Kirk's estranged and now-adult son. While Mr. Spock mentors the young Vulcan Lt. Saavik (then-newcomer Kirstie Alley), Kirk must battle Khan to the bitter end, through a climactic starship chase and an unexpected crisis that will cost the life of Kirk's closest friend. This was the kind of character-based Trek that fans were waiting for, boosted by spectacular special effects, a great villain (thanks to Montalban's splendidly melodramatic performance), and a deft combination of humor, excitement, and wondrous imagination. Director Nicholas Meyer (who would play a substantial role in the success of future Trek features) handles the film as a combination of Moby Dick, Shakespearean tragedy, World War II submarine thriller, and dazzling science fiction, setting the successful tone for the Trek films that followed. --Jeff ShannonStar Trek III : The Search for Spock You didn't think Mr. Spock was really dead, did you? When Spock's casket landed on the surface of the Genesis planet at the end of Star Trek II, we had already been told that Genesis had the power to bring "life from lifelessness." So it's no surprise that this energetic but somewhat hokey sequel gives Spock a new lease on life, beginning with his rebirth and rapid growth as the Genesis planet literally shakes itself apart in a series of tumultuous geological spasms. As Kirk is getting to know his estranged son (Merritt Butrick), he must also do battle with the fiendish Klingon Kruge (Christopher Lloyd), who is determined to seize the power of Genesis from the Federation. Meanwhile, the regenerated Spock returns to his home planet, and Star Trek III gains considerable interest by exploring the ceremonial (and, of course, highly logical) traditions of Vulcan society. The movie's a minor disappointment compared to Star Trek II, but it's a--well, logical--sequel that successfully restores Spock (and first-time film director Leonard Nimoy) to the phenomenal Trek franchise...as if he were ever really gone. With Kirk's willful destruction of the U.S.S. Enterprise and Robin Curtis replacing the departing Kirstie Alley as Vulcan Lt. Saavik, this was clearly a transitional film in the series, clearing the way for the highly popular Star Trek IV. --Jeff ShannonStar Trek IV : The Voyage Home Jumping on to the end-of-the-century bandwagon a little early, Paramount Pictures released 10 of their top films in one 10-pack, the Millennium Collection, in 1998. All the films are presented in their widescreen editions; one, Breakfast at Tiffany's, is offered in this format for the first time. The set includes 5 Best Picture Oscar winners and films that took home an additional 33 Academy Awards. All the tapes are available to buy individually. The pack, with a handsome mosaic of faces from the movies, also features collector gift cards (a movie version of baseball cards) and a commemorative booklet detailing the productions of all 10 films. The collection is oddly weighted toward the last 25 years, offering only one film from the 1950s and one from the 1960s. Your taste in current cinema will define the value of the set. Besides Tiffany's, one of Audrey Hepburn's finest films, the collection contains: The Ten Commandments with Charlton Heston, Grease with John Travolta, Francis Ford Coppola's Apocalypse Now and The Godfather, the funny, whale-saving Star Trek IV--The Voyage Home, Tom Cruise's hit Top Gun, the smash hit Ghost with Demi Moore, Mel Gibson's Celt fest Braveheart, and Forrest Gump with Tom Hanks. --Doug ThomasStar Trek V :The Final FrontierMovie critic Roger Ebert summed it up very succinctly: "Of all of the Star Trek movies, this is the worst." Subsequent films in the popular series have done nothing to disprove this opinion; we can be grateful that they've all been significantly better since this film was released in 1989. After Leonard Nimoy scored hits with Star Trek III and IV, William Shatner used his contractual clout (and bruised ego) to assume directorial duties on this mission, in which a rebellious Vulcan (Laurence Luckinbill) kidnaps Federation officials in his overzealous quest for the supreme source of creation. That's right, you heard it correctly: Star Trek V is about a crazy Vulcan's search for God. By the time Kirk, Spock, and their Federation cohorts are taken to the Great Barrier of the galaxy, this journey to "the final future" has gone from an embarrassing prologue to an absurd conclusion, with a lot of creaky plotting in between. Of course, die-hard Trekkies will still allow this movie into their video collections; but they'll only watch it when nobody else is looking. After this humbling experience, Shatner wisely relinquished the director's chair to Star Trek II's Nicholas Meyer. --Jeff ShannonStar Trek VI : The Undiscovered CountryStar Trek V left us nowhere to go but up, and with the return of Star Trek II director Nicholas Meyer, Star Trek VI restored the movie series to its classic blend of space opera, intelligent plotting, and engaging interaction of stalwart heroes and menacing villains. Borrowing its subtitle (and several lines of dialogue) from Shakespeare, the movie finds Admiral Kirk (William Shatner) and his fellow Enterprise crew members on a diplomatic mission to negotiate peace with the revered Klingon Chancellor Gorkon (David Warner). When the high-ranking Klingon and several officers are ruthlessly murdered, blame is placed on Kirk, whose subsequent investigation uncovers an assassination plot masterminded by the nefarious Klingon General Chang (Christopher Plummer) in an effort to disrupt a historic peace summit. As this political plot unfolds, Star Trek VI takes on a sharp-edged tone, with Kirk and Spock confronting their opposing views of diplomacy, and testing their bonds of loyalty when a Vulcan officer is revealed to be a traitor. With a dramatic depth befitting what was to be the final movie mission of the original Star Trek crew, this film took the veteran cast out in respectably high style. With the torch being passed to the crew of Star Trek: The Next Generation, only Kirk, Scotty, and Chekov would return, however briefly, in Star Trek: Generations. --Jeff Shannon

Seven-disc set includes "Star Trek: The Motion Picture," "Star Trek II: The Wrath of Khan," "Star Trek III: The Search for Spock," "Star Trek IV: The Voyage Home," "Star Trek V: The Final Frontier," "Star Trek VI: The Undiscovered Country," and a disc full of extras.

Review for A Fistful of Dollars:A Fistful of Dollars launched the spaghetti Western and catapulted Clint Eastwood to stardom. Based on Akira Kurosawa's 1961 samurai picture Yojimbo, it scored a resounding success (in Italy in 1964 and the U.S. in 1967), as did its sequels, For a Few Dollars More and The Good, the Bad and the Ugly. The advertising campaign promoted Eastwood's character--laconic, amoral, dangerous--as the Man with No Name (though in the film he's clearly referred to as Joe), and audiences loved the movie's refreshing new take on the Western genre. Gone are the pieties about making the streets safe for women and children. Instead it's every man for himself. Striking, too, was a new emphasis on violence, with stylized, almost balletic gunfights and baroque touches such as Eastwood's armored breastplate. The Dollars films had a marked influence on the Hollywood Western--for example, Sam Peckinpah's The Wild Bunch--but their most enduring legacy is Clint Eastwood himself. --Edward Buscombe Review for The Good, the Bad, and the Ugly:If you think of A Fistful of Dollars and For a Few Dollars More as the tasty appetizers in Sergio Leone's celebrated "Dollars" trilogy of Italian "Spaghetti" Westerns, then The Good, the Bad, and the Ugly is a lavish full-course feast. Readily identified by the popular themes of its innovative score by Ennio Morricone (one of the bestselling soundtracks of all time), this cinematic milestone eclipsed its influential predecessors with a $1.2 million budget (considered extravagant in the mid-1960s), greater production values to accommodate Leone's epic vision of greed and betrayal, and a three-hour running time for its wide-ranging plot about the titular trio of mercenaries ("Good" Blondie played by rising star Clint Eastwood, "Bad" Angel Eyes played by Lee Van Cleef, and "Ugly" Tuco played by Eli Wallach) in a ruthless Civil War-era quest for $200,000 worth of buried Confederate gold. Virtually all of Leone's stylistic attributes can be found here in full fruition, from the constant inclusion of Roman Catholic iconography to a climactic circular shoot-out, along with Leone's trademark use of surreal landscapes, brilliant widescreen compositions and extreme close-ups of actors so intimate that they burn into the viewer's memory. And while some Leone fans may favor the more scaled-down action of For a Few Dollars More or the masterful grandiosity of Once Upon a Time in the West, it was The Good, the Bad, and the Ugly that cemented Leone's reputation as a world-class director with a singular vision. --Jeff Shannon

Brand New Sealed. Ship insured with tracking.

Product Details Actors: Helen Morse, Bryan Brown, Gordon Jackson, Dorothy Alison, Yuki Shimoda Directors: David Stevens Writers: Nevil Shute, Rosemary Anne Sisson, Tom Hegarty Producers: Henry Crawford Format: Color, Full Screen, NTSC Rated: NR (Not Rated) Number of tapes: 1 Studio: Anchor Bay VHS Release Date: July 30, 1992 Run Time: 301 minutes

It was the last game Michael Jordan played with the Chicago Bulls, and now you can remember perhaps the biggest clutch shot of Jordan's NBA career with this terrific new Pro Shots Ultimates figure, which depicts No. 23 in mid-launch of his Finals-winning jump shot against Utah in 1998. The 12" high figure, which is limited to 2,023, is a superbly detailed sculpture replica made of high-quality polyresin. Don't miss out on this new collectible; order now!

This Poster Set includes 8 laminated posters, each measuring 18" x 24." Topics include Chemical Safety, Clean-Up Safety, Fire Safety, Glassware Safety, Lab Accidents, Lab Safety Behavior, Lab Safety Guidelines, and Sharp Instrument Safety.

Field tested for extreme conditions, the XR Entry Tool combines the functionality of five separate devices into one universal head design. Used as an axe, prybar, hydrant wrench, gas shut off and spanner wrench (2-1/2" hoses and water mains) this tool is a necessity for all emergency and rescue professionals. Extreme Conditions require extreme tools Crucible S7 is a shock resisting tool steel with excellent toughness and high strength, along with low to medium wear resistance. It has been widely used for many years to make chisels and punches which undergo shock loading, and has found increasing use for small plastic molds. S7 is easy to machine in the annealed condition and can be readily heat treated. It is deep hardening and in many cases (except for large sections) it can be air quenched, exhibiting minimal distortion on hardening. Due to its relatively high attainable hardness (HRC 58/60) it offers high compressive strength (resistance to deformation) while retaining good toughness. Crucible S7 is a versatile tool steel for both cold and warm shock applications

In the wake of Guy Ritchie's reimagining, the BBC puts its own stamp on Arthur Conan Doyle's sleuth--and sets him in a London filled with cell phones and laptops. In the pilot, director Paul McGuigan (a keen visual stylist) introduces Sherlock Holmes (Atonement's Benedict Cumberbatch) as a "high-functioning sociopath" and Dr. John Watson (The Office's Martin Freeman) as an army veteran with posttraumatic stress disorder. Through a mutual friend, the two become flatmates at 221B Baker Street (Una Stubbs plays their landlady). Holmes, who consults with Scotland Yard inspector Lestrade (Rupert Graves) on his trickier cases, drafts Watson to assist him. In "Study in Pink," four people commit suicide by poison. When Holmes sets out to establish a link, he falls right into the culprit's clutches. Other cases concern a smuggling operation ("The Blind Banker") and a mad bomber ("The Great Game"). Though he doesn't make a formal entrance until episode three, an infamous figure from Sherlock's future has a hand in each mystery, while the detective's brother, Mycroft (co-creator Mark Gatiss), first appears when he tries to hire Watson for a case of his own, an offer that gives the good doctor pause. Through his job at a medical office, Watson also meets Sarah (Zoe Telford), who becomes his girlfriend. Part of the fun of Jeremy Brett's Holmes (and Agatha Christie's Poirot) came from the period details, so this update takes a little getting used to--as does the occasional mumbled line--but Cumberbatch and Freeman share an enjoyable Odd Couple rapport, marked by flashes of deadpan wit, which compensates for the absence of deerstalker caps (Holmes favors scarves) and journals (Watson maintains a website). Extras include commentary on the finale, the original pilot, and a featurette, in which cocreator Steven Moffat (Doctor Who) notes that Cumberbatch was his only choice for the title role. --Kathleen C. Fennessy

Two-disc set includes the pilot, "A Study in Pink," "The Blind Banker," and "The Great Game." 7 2/3 hrs. total. Standard; Soundtrack: English Dolby Digital stereo; Subtitles: English; audio commentary; featurette. **4 episodes on 2 discs. 7 2/3 hrs.**

Studio: Pbs Release Date: 01/11/2011 Run time: 368 minutes

An addictive blend of suds and social commentary, ITV's Downton Abbey brings a microcosm of Edwardian society together under one roof. Lord Robert Crawley (Hugh Bonneville) and his family live a life of leisure, while a fleet of servants, including butler Carson (Jim Carter), attend to their every need, but two events conspire to shake things up: the sinking of the Titanic, which claims Crawley's heirs, and the return of his valet, Bates (Brendan Coyle). Since Crawley and Lady Cora (Elizabeth McGovern) have three daughters, his distant solicitor cousin, Matthew (Dan Stevens), becomes heir to the estate. With that, the scheming begins, since Thomas the footman (Rob James-Collier) views Bates as an interloper and Crawley's mother, Violet (Maggie Smith), feels the same way about Matthew's mother, Isobel (Penelope Wilton). In the tradition of the BBC's Upstairs Downstairs and Robert Altman's Gosford Park, for which writer-creator Julian Fellowes received an Academy Award, the royals, servants, and middle-class relations struggle to get along. Sniffs uptight maid Miss O'Brien (Siobhan Finneran), "Gentlemen don't work," but that doesn't stop Mary (Michelle Dockery) and Edith Crawley (Laura Carmichael) from competing for Matthew's affections. Though it takes awhile to warm up to the tightest-wound characters, most everyone reveals their more vulnerable side before the first season comes to an end, and a new small-screen classic is born. The entire sprawling cast is quite wonderful, particularly Bonneville, Carter, and James-Collier, who provide a fascinating study in contrasts (the latter is downright dastardly). Unlike the version that aired on PBS's Masterpiece Classic, this set offers seven parts rather than four. Extras include a featurette, in which cast and crew discuss the production, and an introduction to Hampshire's Highclere Castle, which doubles for Downton Abbey. The first season was a phenomenon in the United Kingdom, and Fellowes has promised a second season set during World War I. --Kathleen C. Fennessy