William Turner is a natural white mould-made watercolor paper with 100% rag content making it highly archival. A smooth surface suits detailed work and watercolors. The printed side of this paper has been specially coated for excellent image sharpness and optimum color graduation. The coating also offers a very high level of water resistance.
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Leprechaun [1993]
Customer Review: AN ORIGINAL SORY AND GOOD GORE BUT NOT MUCH ELSE
Ten years ago, an evil leprechaun (Warwick Davis) lives, protecting his ill-gotten cold collection. Today, Dan O’Grady, (Shay Duffin) after finding what he believes are magical gold coins, steals the gold and returns back home, followed by the leprechaun. Ten years later, Tory Redding (Jennifer Aniston (Yes, it’s the same one)) and her father JD (John Sanderford) move into the same house, which Tory isn’t extremely fond of. Due to heckling from neighbor Nathan, (Ken Olandt) Tory agrees to stay. When friend Ozzie (Mark Holton) finds the leprechaun in the basement, no one believes him. When he finds the sack of stolen gold coins, he tells his little brother Alex (Robert Gorman) and they take it to get it evaluated. The leprechaun tracks it down, killing the shop owner. As the residents around the town start to be killed off, Tory and her friends start to realize that the killer is a leprechaun. Understanding the significance of the gold coins, they use them in a plan to rid themselves of the malevolent creature.

The Good News: First of all, I want to get this out. This is the probably the goriest entry in the series. We have some really bloody kills such as a few really good looking face scratching, some convincing burn marks a face ripped off, a car burner to the nose, and an ear bitten off. The killings did look a little bit more creative than normal, and the effectiveness of them is a real testament to the movie. Another great thing about the killings is that the Leprechaun harmed before he killed. The great special FX is the best part here. This includes the only scare in the film: the recreation of the leprechaun. When Ozzie finds the crate with the Leprechaun in the basement, he leans in closer to hear what the crate is making and the hand shoots forth. The crate is then splintered into pieces as a terrified Ozzie is sent cowering away in fear, with the unbelievable story to tell. The Leprechaun’s make-up in this one is perhaps the most frightening of the series. It’s probably due to the fact that the film is a straight horror film, rather than the sequels’ more hilarious tone. Because of the cracks in the face and the different dimensions it has, with the lighting in the film, creates a really unnerving sight when first viewed. You can tell this was intended to be a great slasher film, as it does follow the slasher rules: the indestructible killer, the false death, the desolate location, the killer chasing the victim and catching them by walking, and the setting up of the sequel. All these things aside, the best reason to watch one is to see Jennifer Aniston in a pair of short-shorts for ninety minutes, as she never changes clothes.

The Bad News: The sequels are what made the series. They were all downright hilarious, which this one really isn’t. This one feels intended to be a straightforward horror story, and there are no real big laughs in this one. There are a few funny scenes that definitely show where the series is going, such as a pretty funny scene where Ozzie is drenched in paint after an accident, but the fans who love the series for it’s wacky gags and smart one-liners will be lost here. Also readily apparent is Warwick Davis’ almost disinterest in playing the leprechaun. I didn’t see the glee that he had in the sequels in his performance in this one. You can almost tell that he didn’t think this was going to be big and never really put his all in. Another big problem is that the film really doesn’t have a lot of suspense or shock scenes. Even the few scenes that follow those conventions are total letdowns. When Nathan goes outside to check on a noise, he wanders around the building for a while before he steps into a clearly visible bear-trap the Leprechaun has set. It’s all too easy to see. You would think that wandering around a big dark house after dark would be a slam-dunk scare, but it’s wasted.

The Final Verdict: It has a lot of people that are against it, and a lot of people who love this film. It is very hard to determine who will enjoy this movie, so give a rental or check it out on TV. Either way, it won’t hurt you too much.

Customer Review: Where’s me gold!
This Leprechaun is a great one for fans who grew up in the betamax video era and like their horror films cheesy and silly and fun. The ingredients for these films are simple: bad acting, rubbery effects, cheap lighting, awful dialogue, but all mixed together with a sense of humour and a willingness to never take anything too seriously.

The story is simple enough: someone has stolen the Leprechaun’s pot of gold and he’s on a murderous quest to get it back. In this case, he takes out his frustrations on a group of thinly written characters who are staying at the house where he has been imprisoned.

The most important element in a film like this is a great villain, and you get that here in the form of the tiny, crazy, gold-obsessed Leprechaun. Warwick Davis, playing the title character, is obviously having a grand old time in this role, and he injects a charm and lunacy into proceedings that elevates this above other low-budget horrors. Think of him as a kind of mini Freddy Krueger, but with a more sympathetic motivation - he just wants his gold back!

The rest of the cast are as anonymous as you would expect from a small scale horror, with the exception of Jennifer Aniston, who makes a pre-Friends appearance here in what was probably her biggest role to date. She does okay with the material she’s given (the Leprechaun gets all the best lines) and she looks pretty and vulnerable in the best horror tradition.

I can’t imagine this Leprechaun will be to everyone’s taste - it is pretty stupid, after all - but it was a pleasant surprise to me. If you’ve ever enjoyed the likes of Ghoulies, C.H.U.D. or Return Of The Living Dead, you won’t be disappointed by this one. If nothing else, this may be the only chance you have to see a death by pogo stick.

Posters: Paul Cezanne Poster Art Print - I Giocatori Di Carte (28 x 20 inches)

Laguna Cologne by Salvador Dali for Men 3.4 oz (102 ml) Eau De Toilett Spray
Laguna for Men 3.4 oz (102 ml) Eau De Toilett Spray . All our fragrances are 100% originals by their original designers. Satisfaction guranteed.

Carousel [1956]
The 1956 screen adaptation of Carousel, like its immediate predecessor Oklahoma!, boasted then state-of-the-art widescreen cinematography, stereophonic sound, a starring romantic duo with on-screen chemistry, and the Rodgers & Hammerstein imprimatur. Adding to its promise was a source (the venerable Ferenc Molnar play Liliom) that had already been filmed three times. Contributing to the lustre are the coastal Maine locations where 20th Century Fox filmed principal photography. Yet unlike the original Broadway production, and despite evident craft, Carousel proved a box-office disappointment. Why? Hindsight argues that movie-goers of the 1950s may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.

Whatever the obstacle, Carousel may well be a revelation to first-time viewers. The score is among the composers’ most affecting, from the glorious instrumental “Carousel Waltz” to a succession of exquisite love songs (”If I Loved You”), a heart-rending secular hymn (”You’ll Never Walk Alone”), and the expectant father’s poignant reverie, “Soliloquy”. Top-line stars Shirley Jones (as factory worker Julie Jordan) and Gordon MacRae (as Billy Bigelow, the carnival barker who woos and weds her) achieve greater dramatic urgency here than in the more successful Oklahoma!. MacRae in particular attains a personal best as the conflicted Billy, whose anxiety and wounded pride after losing his job are crucial to the plot. It’s Billy’s impatience to support his new family that drives him to an ill-fated decision, which transforms the fable into a ghost story. –Sam Sutherland, Amazon.com

Customer Review: Well worth going to the Carousel
Regarded by many as the best Rodgers and Hammerstein musical, it still manages to pack a punch after all these years. Most people will probably already be familiar with the hymn-like standard ‘You’ll Never Walk Alone’, but there are plenty of other gems here that are worth tuning in for. Fans of Frank Sinatra may recognise Billy’s ‘Soliloquy’. The scene on the beach where Gordon McRae belts it out is now a movie musicals’ classic. My personal favourite is the beautifully tender duet ‘If I Loved You’, a song so loaded with the promise of romance and deeply felt regret all at the same time - surely (or Shirley??) one of the best love songs in any Broadway repertoire.

Another of the musical’s high points comes with the opening ‘Carousel Waltz’ itself, an instrumental piece that perfectly captures the very mood of a funfair and is probably one of Rodgers’ finest compositions. It won’t leave your head for days!

While the camerawork may look a bit dated now, the story is still relevant and quite moving. Both of the leads (Gordon McRae and Shirley Jones) are well cast and the singing is excellent. Exquisite stuff indeed.

Customer Review: A Timeless Musical Masterpiece
Undoubtedly the most touching and beautifully written of Rogers and Hammerstein's movie-musicals, this film is in turns lightheartedly funny and tear-jerkingly sad. Featuring classic songs “June is Busting Out All Over”, “If I Loved You” and “You'll Never Walk Alone” and the undisputed talent of Shirley Jones and Gordon McRae, this film will leave you with tears streaming down your face long after the credits.

Customer Review: Introducing youngsters to the creative insanity of Dali
It is hard to do justice to the imaginative insanity of Salvador Dali, but Angela Wenzel does a pretty good job for this volume in the Adventures in Art series. “The Mad, Mad, Mad World of Salvador Dali” introduces young readers to the Surrealist artist who knew how to put himself in the limelight in ways other than his paintings. One of things that Wenzel does is that she provides some of Dali’s own comments about his art, such as the 1937 painting “Sleep,” where a heavy face that looks like the film director Luis Bunuel is propped by my crutches and explaining the link between the writings of Sigmund Freud on dreams and Dali’s painting “The Burning Giraffe” (1936-37), where drawers are coming out of a tall woman’s body. Also included are the famous melting clocks of “The Persistence of Memory” (1931), the fried eggs of “The Sublime Moment” (1938), and the multiple pictures within “The Metamorphosis of Narcissus” (1937). What I especially like about this volume is how it looks at the origins of some of these paintings. For “The Endless Enigma” (1938) we have the original sketches of the six different paintings that Dali hid in the finished painting, while a postcrd showing an African village became a face turned on its side in “Paranoid Faces” (1931). Then there was the “Portrait of Mrs. Isabel Styler-Tas” (1945), which Dali based on Piero della Francesca’s “Battista Sforza and Federico de Montefeltro” (circa 1465) by way of Giuseppe Arcimboldo’s “Winter,” a marvelous example of how the old becomes new in the hands of a talented artist. Young readers will also be exposed to some prime examples of Dali’s imagination with regards to other types of art beyond paintings, such as his infamous “Lobster Telephone” (1936) and the “Mae West Lips Sofa” (1937), although I miss seeing the harp covered with silverware that he made for his friend Harpo Marx. There are also some choice photographs of “Dali the superstar” engaging in the art of self-promotion. Just showing young readers examples of Dali’s artwork is enough to get them interested in the artist, but Wenzel takes pain to explain how Dali created his masterpieces and what he was trying to do with some of these pieces. This is one of the more truly educational books I have seem about a great artist written for young readers.
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Launched by the design house of Royal Sanders in , VINCENT VAN GOGH by Royal Sanders is classified as a flowery fragrance. This feminine scent posesses a blend of: a sweet floral bouquet of magnolia, lily of the valley and peony, blended with sandalwood
Price: $15.00
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Born out of the artists’ desire to break away from the canons of the Academy, French Impressionist artists Manet, Monet, and Renoir explored contemporary subjects and scenes in new and experimental ways. Major contributions of the Impressionists include painting everyday life, they choice to paint en plein air, outdoors, instead of in the studio and most importantly, the fleeting effects of light on a particular subject. These “impressions” of light became the primary subject matter, especially for Monet. On the bridge between Realism and Impressionism is Edouard Manet. Born in Paris in 1832, he preferred a more classical approach to painting. However, his subject matter in paintings such as Le Dejeuner Sur L’herbe and Olympia gave him the reputation as a nonconformist. Manet places the Olympia we see in classical paintings in a contemporary setting rather than an allegorical one and she looks directly at the viewer. The refusal of the salon to show these paintings earned him the dubious title, “Father of Impressionism”. Claude Monet is best known for his paintings of his garden at Giverny. In the 1890’s he began to build a water garden around his house. There he painted his famous water lily paintings. By 1909 he had conceptualized an idea for a vast project of water lily canvases that would envelop an entire room. From 1916 almost until his death he worked on these canvases. He spoke of this endeavor, “In the night I am constantly haunted by what I am trying to realize. I rise broken with fatigue every morning.” In these canvases perspective is reduced to the water lilies floating on the surface of the water. Pierre Auguste Renoir’s painting, Le Moulin de la Galette is a study in impressionism. The scene is of working class people enjoying the leisure of a Sunday afternoon. The artist set up an easel right near the location and painted from life. Renoir was especially concerned with the play of light and shadow as they danced across the surface of an object. The fondness for impressionism exists today because these images capture forever the changing moments of time that we can all relate to in our contemporary world.

Observation and Reflection: Claude Monet
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The Monet Collection: Romantic Melodies (Box Set)
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In 1874 Monet and his colleagues decided to appeal directly to the public by organizing their own exhibition. The press derisively labeled them “Impressionists” because their work seemed sketchy and unfinished (like a first impression) and because one of Monet’s paintings at the exhibition bore the title Impression: Sunrise (1872, Mus?e Marmottan, Paris). Monet’s compositions from this time were extremely loosely structured, and the colour was applied in strong, distinct strokes as if no reworking of the pigment had been attempted. This technique was calculated to suggest that the artist had indeed captured a spontaneous impression of nature. During the 1870s and 1880s Monet gradually refined this technique, and he made many trips to scenic areas of France, especially the Mediterranean and Atlantic coasts, to study the most brilliant effects of light and colour possible.>

Cezanne (Rizzoli Art) (Rizzoli Art)
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Citizen Kane
Arguably the greatest of American films, Orson Welles’s 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can’t be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mother as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles’s awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer’s subconsciousness. As Kane, Welles even ushers in the influence of Bertolt Brecht on film acting. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films from the 20th century. –Tom Keogh
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Customer Review: A cinematic staple; a film that stands the test of time, proving to be one of the greatest…
Oh how the times have changed. A film that was in all actuality a box-office flop; critically panned and literally booed at the 14th annual Oscars; a film that received nine Oscar nominations yet only received one statuette (for screenplay) rises from the ashes of a pummeling demise to become considered the greatest American film of all time. All too often this is the case; a film is either critically lauded or distained only to, with time, change the minds of the American public. `Citizen Kane’ rests comfortable at the top (the number one position) of AFI’s list of the top 100 films ever made, and I don’t see it dropping positions anytime soon (unless `The Godfather’ sneaks in). Personally, I feel that America got this right; the second time. While I personally prefer Coppola’s `gangster’ masterpiece I feel that `Citizen Kane’ is a marvelous example of perfected cinema, an entertaining and enlightening film that stands the test of time and in all actuality gets better as the years roll by. The film opens the fragile whisper of the word “Rosebud” before it explodes with the exclamation of newspaper tycoon Charles Foster Kane’s death. The film revolves around a news reporter trying to uncover the meaning behind Kane’s last word, “Rosebud”. What that reporter finds though is that no man’s life can be summed up with one word. I find that revelation to be supremely important and universally reaching. The whole of `Citizen Kane’ can be summed up in the realization that no man can be fully understood without fully understanding where he came from, what he strived for and ultimately what he became. As this reporter interviews those closest to Kane, those who loved and or hated him, he (as well as we) gets a beautifully well rounded and complete picture of the man that was Charles Foster Kane. We get an inside look at his professional life as well as his personal life; his friends, his wives, his business partners. We get to see how Kane interacted with others, how he dealt with those close to him and even those who peered down at him with evil intent; but as the film draws to its close we realize that the one thing we never got to see is the one missing link to fully grasping `who’ Charles Foster Kane really was. That is his `rosebud’. Sure, `Citizen Kane’, in the process of exposing this man, delves into the politics of corruption and greed, wealth and power, but it’s the underlying message that floats to the surface and becomes the true root of the film. When one walks away from this film he is left with a reflective work of deep meaning and everlasting presence; a universal message that touches the foundations of humanity and dwells eternally in the bowels of those privileged to witness this masterpiece. The first thing I noticed about `Citizen Kane’ was its visual styling. This is a film that feels up-to-date all the way around. I’m fully convinced that this film could be released this year and it would hold up strongly against the world of modern cinema. You know how some films feel dated? `Citizen Kane’ is not that film. Another facet of `Citizen Kane’ that is stellar beyond compare is that of the acting, especially on the part of the films writer, director and star Orson Welles. Welles is charismatic, natural and convincing. He gives a masterfully well rounded and committed performance that stands tall as one of the finest male performances of all time. Seriously, how he lost the acting Oscar is beyond me. How this movie lost any of the Oscars it was snubbed for; Best Actor, Best Director, Best Picture, Score, Film Editing, Cinematography, Art Direction and Sound Recording; is beyond me. At least it was honored with the Screenplay Oscar, but still, that’s such a token award for such a marvelous film. `Citizen Kane’ is lauded as one of the greatest, as the greatest even, and I have to jump on that bandwagon and let my voice be heard. This is a revelation, an iconic piece of cinema that is sure to prove supremely entertaining and rewarding to the viewer. The film is paced beautifully, never loses the audience’s attention or appreciation and, as I mentioned, just gets better and better every time you watch it. Orson Welles had a vision, a marvelous vision at that, and while it was not fully understood or appreciated upon its release, he can `rest in peace’ now, fully aware that his vision will never be forgotten.
Customer Review: Great Movie in 1941 and Today.
Citizen Kane (Two-Disc Special Edition) A Professor and movie buff at my place of work and I got into a conversation about Orson Welles. Asking me if I ever seen the movie Citizen Kane I replied although I knew of the movie I did’nt recall ever seeing it. So I purchased it. Considered by many as the greatest movie ever made it did not disappoint. The acting was terrific. The camera angles and shots were for the time in a league of their own. Making a movie based on the lastword of a dying man (rosebud) and keeping you the movie goer watching until the end just to find out what he meant was also amazing. To bad we do not see Hollywood put more of these types of movies out. To find the best that Hollywood has to offer I believe you must look to it’s past.This movie is an shining example of that. Well worth the purchase price and a fine addition to any movie collection.

Maniac Eyeball: The Unspeakable Confessions of Salvador Dali (Creation Art Directives)

Our hero, glamorous art photographer Andre Kelly, is on assignment for glamorous DQ Magazine–run by the glamorous Camilla Porter–in Cape Ferrat on the (you guessed it) glamorous C?te d’Azur. Snooping around an ancestral pile for some snaps, by chance he spies Old Claude, the ancient retainer of the immensely wealthy Denoyer family, packing the family Cezanne into a plumbing van. Puzzled, Andre investigates, and the game is afoot. Peter Mayle’s latest effort, Chasing C?zanne, is a whodunit that shows good manners and impeccable taste. It takes its characters–graduates of all the best schools, of course–to some of the world’s most posh locales. The plot device is high rent, too: a purloined painting worth a cool 30 million dollars. To call this book lightweight seems unfair and boorish besides. There’s lots of travel, lots of opulence, lots of opportunities for Mayle to describe Paris and Provence, and all the yummies you’ll find in both places. Who can worry about a mystery when the food’s so delectable? –Ida Kulest
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Customer Review: Excellent Read
Peter Mayle has done it again ! - a beautifully written novel with realistic characters and an enthralling plot with several twists.
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Salvador Dali