While PureCostumes.com has always been your source for online Halloween costume shopping year-round, we are now *that* store more than ever. With our recent expansion into the Mardi Gras and Carnival markets, we are bound to have your perfect costume for any occasion — be it Halloween, Mardi Gras or Carnival! With such a large selection of movie costumes. and Mardi Gras Costumes for adults, kids, teens, pre-teens/tweens, and plus size, you will find that you’ll never have to look at another costume store. In addition to expanding our costumes selection, we have also expanded our accessories section to include more wigs and masks! Our Mardi Gras Masks, for example, boasts a huge variety, from Feather Masks to Masks on a Stick to Venetian Carnival Masks. Visit us today for all your Halloween, Mardi Gras, and Carnival costume needs!
December 28th, 2009 in
Business |
2 Comments
11/12/09 7:43 AM
I have bought SONY PSP-2000. Remained it is very happy with purchase. Delivery was very fast DHL The product was qualitative. The updated insertion has helped to save many money for disks with games. Not what problems during operation did not arise. I recommend this shop for others and would buy once again in it.
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11/10/09 4:13 AM
I ordered a dark green dress from Light in the box in November gave them all my messurements and it arrived in the Uk in 22 days! The dress was perfect fit and i felt wonderful in it!
I would buy them them again as it saved me at least £150!
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11/5/09 2:34 PM
I would like to thank Light in the box for excellent customer service and fast delivery. I order 2 ball gowns from the website and recieved them as they were pictured on the website. I can not say enough how friendly the service was, so much that I have just placed a second order with them. The prices are excellent and the service is friendly. Thank you again Light in the Box for your help.
Regards,
Kay in Atlanta, GA
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11/5/09 2:15 PM
Light in the box is a fantastic website. i used it for selling stuff at school and it was a huge sucsess. the products are great value for money and the customer services are great. i really enjoyed my light in the box experiance!
thanks lightinthebox!
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10/29/09 4:17 AM
Customer service was excellent. Items were as ordered. I made a mistake on my order and noticed it later and contacted live customer service and the mistake was corrected for me immediately. No problem. I contacted customer service with another question prior to shipping and I was responded to immediately again. On both times, the customer service people were very knowledgeable and very very courteous. Items were received as ordered and also very quickly – 7 business days. After I received my order, LightInTheBox sent me a thankyou email and a coupon which was very nice. The quality was good and items were fairly priced. I would shop at LightInTheBox again and think they were good to do business with. Thank you.
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November 17th, 2009 in
Business |
8 Comments
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August 5th, 2009 in
Business |
3 Comments
The Princess Diaries isn’t so much a modern-day fairy tale as it is a dramatization of every little girl’s dream: to be a princess. The film is directed by Garry Marshall, who specializes in fantasies without consequences. The Princess Diaries is essentially a re-telling of Marshall’s own Pretty Woman, which, in turn, was just a lame updating of Pygmalion.
The best performances in The Princess Diaries border on the low side of mediocre. No one stands out, and some of the actors should be embarrassed. I give Julie Andrews credit for being able to deliver most of her dialogue with a straight face, however, since she is given some of the most amazingly stupid lines she has spoken in her lengthy career. Lead actress Anne Hathaway, making her feature debut, possesses the kind of fresh-faced perkiness that inspires irritation by the time she has smiled once too often. Like Julie Andrews, Hector Elizondo tries to “class up” the picture, and, also like her, he fails. His dialogue isn’t as inane as hers, but he doesn’t shine.
The Princess Diaries is okay entertainment only for the target demographic (girls age 8 to 13). Everyone else will either fall asleep, run screaming from the theater, or go into sugar shock. It is possible to make a movie everyone can enjoy from a fairy tale premise, but you wouldn’t be able to guess that based on the evidence at hand here. Next time I’m slated to see a movie directed by Garry Marshall, maybe I should consume about 15 sugar cubes in preparation.
You must know that you are in for a thrill when the director of one of the best films ever made, ”Das Boot”, is in charge. No one compares to Wolfgang Petersen when it comes to making superb films. ”Air Force One”, from beginning to end, is one frantic, tense action film.
Blending the action-gripping essence of ”Die Hard” and the claustrophobic intensity of Executive Decision, the resulting elixir is a potent mixture in the form of ”Air Force One”. Being such, it is a high-flying adventure that offers a lot of roller-coaster style excitement in this airborne suspense thriller.
Harrison Ford is utterly believable as he hides in various parts of the huge plane, shoots automatic weapons at the enemy when he has a chance, wrestles with the terrorists while hanging near an open hatch. A little humor (very little) is injected when Marshall throws one of the terrorists out the hatch, exclaiming, “Get off my plane.”
Yet, despite this generally, excitingly, executed storyline, you’ll find that the ending was somewhat of a letdown given all that had transpired as you question the motivations behind one of the main characters. Nonetheless, the fast-paced action, the fine all-around, performances, and the sheer enjoyment value of the film earned its wings. ”Air Force One” is an exciting film, great cast.
Love In The Time of Cholera is a very ambitious film. Though it doesn’t quite meet its stretch, it is still a wonderful film worthy of being watching. The degree to which you enjoy a film might depend on your power to dream, and your willingness to paper over the cracks.
Put yourself in Colombia. The time is the late 19th Century. Think back, for a moment, to when you first fell for someone. That heady feeling. Your heart is beating faster. Your mouth is dry as they approach. Your whole being concentrated in a single aim. A single passion. The world seems a wonderful place. There are no problems that cannot be surmounted. For some, falling in love is like suspending disbelief. Can that act of faith last a lifetime? Or do we put the book down if love goes wrong?
The film contains passionate and enduring love, the characters are very intense, and with epic tales to tell. And how many films do we see shot in the beautiful, lush but strife-riven Colombia? I loved every minute of Love In The Time Of Cholera. Flawed as it is, I found the film bold and colourful, but it doesn’t affect the general quality of the film.
The Story of Us illustrates what happens when the fissure of minor differences in a marriage widens into a seemingly unbridgeable chasm. This film is insightful and intelligent, and it paints a convincing portrait of the disintegration of a family.
For about 90 minutes of the film, we are witnesses to the erosion of a marriage. Two people who were once happy are currently involved in a unpleasant relationship. Now, the only thing louder than their arguments is the silence between them when they’re not speaking. They still care for each other, but they are strangers, and only the presence of two children has kept them from calling it quits.
Undoubtedly, The Story of Us falls under the “chick flick” umbrella. It is manipulative, at least the manipulation is skillful, rather than sloppy and overwrought. For the most part, the characters are well developed and easy to sympathize with.
Most of all, I like the structure employed by the film. It ricochets back and forth between people, places, and time periods (via frequent flashbacks). Without slowing down the story, this approach allows us to get a good feeling for the various stages of their marriage. We see them “meet cute”, say their vows, raise their children, then drift apart. The Story of Us also has flaws, but its flaws are not seriously enough to curtail its ability to function as unpretentious entertainment.
“American Teen” is populated by high school archetypes, kids who might have stepped out of the mists of their own adolescence.There is the blond popular girl, Megan Krizmanich, and her blond sidekick, Ali Wikalinska, young women who wield inordinate power over the social fates of their peers. There is Colin Clemens, the basketball star hoping to land a college scholarship and facing pressure at home from his ex-athlete dad. There is Hannah Bailey, the artsy misfit girl who dreams of becoming a filmmaker and who enters into a transgressive romance with a dimple-chinned athlete named Mitch Reinholt. And there is also Jake Tusing, a self-identified nerd with a bad haircut, serious acne and a heavy video-game habit.
Not everything works out according to the teen movie formula. There are some odd developments and unexpected reversals — a trip to Tijuana, a breakup via text message — to complicate the anticipated narrative arc. There are moments of breathtaking cruelty, unguarded emotion and plain weirdness. And there are some genuinely scary turns, as when Hannah, brutally dumped by the boyfriend before Mitch, falls into a depression so severe that she can’t bring herself to go to school.
However, the real twist is that all the characters in “American Teen” are real people, students in Warsaw, Ind. discovered by Nanette Burstein and arrayed in her fascinating, queasy-making new documentary. The fascination comes from how unguarded these young people seem to be about their own lives, speaking frankly to the camera and allowing it to observe uncomfortable and intimate moments in their lives. The queasiness, inevitably, arises from the same source.
Action hero Dwayne “The Rock” Johnson tries to soften his image with “The Game Plan”, a treacly, predictable comedy that kids will like more than adults. Solid production values, settings that make use of both sports and dance, and a family-friendly storyline place it firmly within Disney’s target market, although it will probably have more appeal for home viewers than with theatregoers.
Screenwriters Nichole Millard and Kathryn Price draw some easy but still worthwhile connections between football and ballet, appealing to kids in both camps, and throw in some late twists that jeopardize the new relationship between Kingman and Peyton. But for the most part the script follows a well-worn path in which adult males are overgrown kids and the kids themselves have all the smarts. Andy Fickman directs in a broad, easygoing style, thankfully playing down gross-out jokes but never finding the real emotions at the core of the story.
The rest of the cast works as well. Young Madison Pettis, who is seen regularly on the Disney Channel’s Corey in the “House”, gives a more polished performance than she does on television. She’s got a career ahead of her as long as she doesn’t become obnoxious like Raven or psychotic like Lindsay Lohan.
Walt Disney Studios has a grand tradition of both family films and inspirational sports movies. While “The Game Plan” goes more for the family than the sports crowd, it does offer a little something for everyone. In short, the dads in the family aren’t going to cringe throughout the movie.
“Transformers” is inspired by the Transformer toys that twist and fold and double in upon themselves, like a Rubik’s Cube crossed with a contortionist. A yellow Camaro unfolds into a hulking robot, helicopters become walking death monsters, and an enemy named Megatron rumbles onto the screen and, in a voice that resembles the sound effects in “Earthquake,” introduces himself: “I–AM–MEGATRON!!!”
Michael Bay may be the ideal director for this sort of project. With an obsessive attention to detail and the ability to make narrative sense out of complete balderdash, he gives “Transformers” a pacing and drive the story never really merits. Some scenes, notably those set in Qatar, seem darker and more violent than the target audience may expect. But most of “Transformers” is pitched at a lighthearted level just below parody. The likeable LaBeouf and manic Turturro supply some pleasant humor, while Fox is photographed so lovingly that she could divert even pre-adolescents from the whirring, clanking junk heaps that dominate the film.
If you never fell under the spell of “Transformers” as a child, this will be the most gratuitous film, an adrenalized, testosterone-heavy stew of petrochemical-derived mayhem. But if you grew up imagining life with Ratchet, Ironhide, Bonecrusher and all their robot friends, Transformers could be just what you’ve been waiting for.
Disney’s ”The Princess Diaries ”, directed by Garry Marshall (”Runaway Bride” and ”Pretty Woman”), is a charming, G-rated throwback to a more innocent time at the cinema, when movies were filled with humor that the whole family could laugh at without a trace of embarrassment.
”The Princess Diaries” is basically the ugly duckling story transported to contemporary San Francisco. It’s a movie aimed at young girls, most of whom can probably identify with Mia’s predicament.
But it is a bit difficult to imagine the reaction of an anonymous teen-ager being told just before her 16th birthday that she is heir to the throne. Hathaway, Caroline Goodall as her mother and Julie Andrews as Queen Clarisse nearly succeed in making this unlikely scenario believable. Truly, though, this is one of the film’s weak points. It is difficult in today’s split-second, Internet, super-electronic age to fathom such a secret being buried for almost 16 years without a leak.
Nevertheless, this sweet confection of a film goes down easily and is filled with many big laughs. It may not be the summer’s most memorable movie, but it is a completely entertaining one. Most amazingly, it is a comedy for the whole family with a refreshing absence of bathroom humor. You can take your 5-year-old and her great-grandmother, and they’ll both enjoy the picture just as much as you do.
Based on a popular novel by Neil Gaiman, ”Stardust” is for the most part a lighthearted, entertaining adventure that works best when it doesn’t take itself too seriously. Directed with real flair and opulently packaged, the film stays relatively true to the novel while gently tweaking the fantasy genre. Its cast and plot clearly aim ”Stardust” at older viewers rather than youngsters.
The best change from the novel is the expanded role of Larnia, a truly devious villainess played with unbridled enthusiasm by Pfeiffer. This is the third and best of her recent comeback roles, one marked by a nastiness and vanity she’s never shown before. Pfeiffer is good enough to divert attention from Danes, looking a bit too stolid and acting more petulant than divine. Cox makes a strong showing as a naive youth who must mature into a hero.
But ”Stardust” is a little of a throwback to how fantasy movies used to be before the emergence of the multi-part epic serials. It’s a lighter, simpler sort of tale. Despite just cracking the two-hour barrier, the film is paced and edited in such a way that the story always seems to be moving forward and there is no sense of drag or a letdown. ”Stardust” nevertheless honors the illustrations that inspired its appearance. It’s a kinder and gentler achievement but, in the midst of over budgeted, over-hyped sequels, it’s a fresh and welcome entertainment.
This is a rare World War II movie that takes place in the autumn of 1942, in Stalingrad, during Hitler’s insane attack on the Soviet Union. At first it appeared the Germans would roll over the ragged Russian resistance, but eventually the stubbornness of the Soviets combined with the brutal weather and problems with supply lines to deliver Hitler a crushing defeat and, many believe, turn the tide of the war.
Annaud (“Quest for Fire”) makes big-scale films where men test themselves against their ideas. Here he shows the Nazi sniper as a cool professional, almost without emotion, taking a cerebral approach to the challenge. His confidence falters when he learns who he’s up against, and he says, simply, “He’s better than me.” The strategy of the final confrontation between the two men has a kind of poetry to it, and I like the physical choices that Harris makes in the closing scene.
As Vassily, Jude Law does a solid job re-creating a conflicted war hero who doubts his own prowess with a rifle when faced with a superior adversary, but there’s little humanity in the portrayal. There are things to appreciate about Law’s performance, but he’s working with a thin and sketchily drawn character.
The movie is inspired by true events, the film might have been better and leaner if it had told the story of the two soldiers and left out the soppy stuff. Even so, it’s remarkable, a war story told as a chess game where the loser not only dies, but goes by necessity to an unmarked grave.
At a time when movies think they have to choose between action and ideas, Steven Spielberg’s “Minority Report” is a triumph–a film that works on our minds and our emotions. It is a thriller and a human story, a movie of ideas that’s also a whodunit.
Spielberg, who is a master of technology, trusts only story and character, and then uses everything else as a workman uses his tools. He makes “Minority Report” with the new technology at that time; other directors seem to be trying to make their movies from it. This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill.
Cruise’s muscular star performance is abetted by a terrific supporting cast, led by rising Irish actor Colin Farrell as the aggressive, skeptical Justice Department observer who becomes the movie’s prime suspect. The camera likes Farrell every bit as much as Cruise, and their every two-shot makes an interesting charisma contest. The gifted Samantha Morton (Sweet and Lowdown) is fabulous as the haunted lead psychic Agatha, while veteran Lois Smith is slyly brilliant in her one scene as the scientist who inspired the Pre-Crime program. Another acting great, Max von Sydow, is indispensable in the key role of the division’s founder.
“Minority Report” rivals some of Spielberg’s top adventure/science fiction epics, such as Close Encounters. What’s more, it affirms that movies do not have to be brain-dead to be exciting.
Truman Burbank (Jim Carrey) is the star of the most popular show in the history of television. The public loves it — there are Truman addicts who go to sleep with the TV on and who have sets installed in the bathroom so they don’t miss anything when they’re taking a bath. Every individual in “The Truman Show” is an actor with one important exception: the lead character himself. One day, however, when a former member of the cast sneaks back onto the set with a warning for the star, Truman begins to suspect that appearances can be deceiving…
As an intriguing, well-written piece of entertainment and a mild social commentary, “The Truman Show” deserves high marks. Not everything in the film works, and the script isn’t perhaps as deep or incisive as it would like us to believe, but there’s enough here to mark “The Truman Show” as a worthwhile motion picture — an appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.
It doesn’t take long to appreciate Jim Carrey’s understated lead performance. He does have a few characteristic “wacky” moments, but he also demonstrates admirable restraint — due largely to Peter Weir’s superb direction and a script that requires him to really act for a change.
The underlying ideas made the movie more than just entertainment. It brings into focus the new values that technology is forcing on humanity.
