Thunderbirds Are Go followed the remarkable success of the Thunderbirds television series, bringing the three-dimensional puppet animation adventures of...... more

Thunderbirds Are Go followed the remarkable success of the Thunderbirds television series, bringing the three-dimensional puppet animation adventures of International Rescue to the big screen. Set in the 21st century, there is no attempt to explain the background story: as in the TV show International Rescue is a private family organisation who use hi-tech craft to rescue anyone in peril. Here it is the first manned flight to Mars which is in danger, as International Rescue foils a sabotage attempt at the launch, then race to avert disaster when the spaceship returns to earth. What could have made a 50-minute TV episode is expanded to feature length with Martian "rock monsters" and a surreal dream-sequence involving Alan Tracy, Lady Penelope and "Cliff Richard Jnr" & the Shadows, with a new song performed by the real Cliff and the Shadows. In the cinemas this was competing against another British children's TV SF spin-off, the equally colourful Daleks' Invasion Earth 2150AD, and would be followed by Thunderbird 6 (1968). Yet apart from more complex model work, a bigger orchestra and even bigger explosions, on TV this plays like a widescreen double-length episode.On the DVD: The mono sound is powerful, with Barry Gray's stirring music suffering intermittent distortion. Presented in anamorphic widescreen the picture is very good, with strong colours and only minimal grain, though the print does show occasional damage. Unfortunately the original extremely wide 2.74:1 Techniscope image is cropped to more conventional 2.35:1, to the extent that the careful compositions are noticeably damaged, which director David Lane refers to in his joint commentary with producer Sylvia Anderson (who also played Lady Penelope). 35 years after the event their commentary is packed with details of the filming process and full of information about the many problems of and solutions to making an animated feature. Both Anderson fans and budding animators will find this a real education. The original, rather battered, trailer is included, as are galleries of behind the scenes photos, promotional artwork and posters. Altogether it's rather FABulous. --Gary S Dalkin

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If the relationships that anchor Lisa Cholodenko's warmly funny films appear unconventional, their problems--their pleasures--remain universal. In The Kids...... more

If the relationships that anchor Lisa Cholodenko's warmly funny films appear unconventional, their problems--their pleasures--remain universal. In The Kids Are All Right (no relation to the Who documentary), she takes on a suburban Los Angeles family with two teens, Joni (Alice in Wonderland's Mia Wasikowska) and the unfortunately named Laser (Josh Hutcherson, The Bridge to Terabithia), and two mothers, Nic (Annette Bening) and Jules (an atypically relaxed Julianne Moore), who conceived via artificial insemination. Now that she's heading off to college, Laser urges 18-year-old Joni to seek out their birth father, who lives in the area (her name comes from folksinger Mitchell). Though she hits it off with Paul (Mark Ruffalo, effortlessly charming), a motorcycle-riding restaurant owner, Laser has his doubts (troublingly, the 15-year-old's best friend uses "faggot" as an all-purpose epithet). After they introduce Paul to their parents, allegiances start to shift. While Nic, a doctor, serves as breadwinner (and disciplinarian), Jules, a homemaker-turned-landscape artist, provides the nurturing. Paul, on the other hand, lives free from attachments, inciting both curiosity and suspicion. Furthermore, Jules finds him strangely irresistible, which only expands the fissures in her loving, yet unstable union. As with Laurel Canyon, Cholodenko doesn't just create fully rounded characters, but entire communities. In the end, Kids isn't about children vs. adults as much as the family unit vs. the singular outsider. Though the story concludes on a relatively happy note, it's clear where her allegiances lie. --Kathleen C. Fennessy

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If the relationships that anchor Lisa Cholodenko's warmly funny films appear unconventional, their problems--their pleasures--remain universal. In The Kids...... more

If the relationships that anchor Lisa Cholodenko's warmly funny films appear unconventional, their problems--their pleasures--remain universal. In The Kids Are All Right (no relation to the Who documentary), she takes on a suburban Los Angeles family with two teens, Joni (Alice in Wonderland's Mia Wasikowska) and the unfortunately named Laser (Josh Hutcherson, The Bridge to Terabithia), and two mothers, Nic (Annette Bening) and Jules (an atypically relaxed Julianne Moore), who conceived via artificial insemination. Now that she's heading off to college, Laser urges 18-year-old Joni to seek out their birth father, who lives in the area (her name comes from folksinger Mitchell). Though she hits it off with Paul (Mark Ruffalo, effortlessly charming), a motorcycle-riding restaurant owner, Laser has his doubts (troublingly, the 15-year-old's best friend uses "faggot" as an all-purpose epithet). After they introduce Paul to their parents, allegiances start to shift. While Nic, a doctor, serves as breadwinner (and disciplinarian), Jules, a homemaker-turned-landscape artist, provides the nurturing. Paul, on the other hand, lives free from attachments, inciting both curiosity and suspicion. Furthermore, Jules finds him strangely irresistible, which only expands the fissures in her loving, yet unstable union. As with Laurel Canyon, Cholodenko doesn't just create fully rounded characters, but entire communities. In the end, Kids isn't about children vs. adults as much as the family unit vs. the singular outsider. Though the story concludes on a relatively happy note, it's clear where her allegiances lie. --Kathleen C. Fennessy

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The Man Who Sued God defies simple definition, managing to be several types of movie all at the same time. As a...... more

The Man Who Sued God defies simple definition, managing to be several types of movie all at the same time. As a theological-romantic-comedy-drama, it's in a somewhat unique category all of its own. Perhaps only Billy Connolly could carry off a central role that combines slapstick with raging anger, puppy-dog disappointment and strong language delivered in his distinctive accent. These facets of performance are used and abused in a tale that feels like it really ought to be based on a true story, but isn't. Connolly's life as a fisherman is sunk by the destruction of his boat by a bolt of lightning. The insurance company won't pay up because it falls under that age-old excuse of being an "Act of God". So Connolly decides to sue the deity. The premise raises issues about how the law and the church have apparently conspired together. But at heart the film is a simple character study, so any pondering on legal or theological implications will have to be done on your own time; the screen is occupied with family issues, underhand dealings and a maybe-maybe romance with Judy Davis. Big Yin fans at least will enjoy the Connolly's composite character. --Paul Tonks

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Alan Warner's new novel The Man Who Walks is his latest attempt to recapture the form and verve of his desperately brilliant, luridly beautiful,...... more

Alan Warner's new novel The Man Who Walks is his latest attempt to recapture the form and verve of his desperately brilliant, luridly beautiful, pungently lyrical Morvern Caller; his exceptional debut. The opening sentence promises, and threatens, equally. "The Nephew was lain silent atop the paper sacks of pony nuts near the roof of the agric supply warehouse, dreaming about ghost bags, when his mobile diddled 'Rule Britannia, Britannia rules the waves'". From this arch but poetic introduction Warner spins a strange, eerie, brutish, edgy, kinetic, voluptuous story, set in his usual sodden and hallucinatory Scotland-on-steroids. The characters are a motley crew of misfits, lordlings, computer geeks, scribblers, and Caledonian soaks, with names like Raincheck, Macushla, Jaxter, Hacker, Syrupy Piece, Tracy the Trolley, and Brian. Together and apart these strange creatures wander the lochs and braes of Auld Scotland doing drugs, each other, and occasional disservices to the English language. What is it about? That's a bit harder to say. The themes are the perennial Warner ones: blurred identity, rustic quirkiness, the intrusion of the surreal. There are many stunning moments of sly, shocking, vivid, Warnerian beauty; there are also a few moments of lazy underwriting, and overheated imagining. Somewhere among all this glory and disorder is probably a serious take on what it means to be a whole human being in late-capitalist Europe. This is deeply, deeply intriguing.--Sean Thomas

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Amazing Journey: The Story of the Who is a very satisfying, two-disc set anchored by an excellent documentary directed by Murray Lerner (The...... more

Amazing Journey: The Story of the Who is a very satisfying, two-disc set anchored by an excellent documentary directed by Murray Lerner (The Other Side of the Mirror: Bob Dylan at the Newport Folk Festival), whose 1970 footage of the band in concert appears in Lerners Message to Love: The Isle of Wight Festival. Lerners new film includes recent and extensive interviews with surviving Who members Roger Daltrey and Pete Townshend, who candidly recall every chapter of the groups career, from childhood to the premature deaths of drummer Keith Moon and bassist John Entwistle, and beyond to Daltrey and Townshends continuing, now-autumnal collaboration. Much of what is said and captured in Amazing Journey has been noted before in myriad ways (including the Whos 1979 autobiographical feature The Kids Are Alright), but the older Daltrey and Townshend get, the richer their insights into Who history. Lerners organisation of sub-topics and material also makes Amazing Journey powerful and resonant, including the Whos earliest period as an emerging club band (called the High Numbers) emphasising rhythm and blues, and Townshends gradual transformation into a songwriter trying to break traditional pop forms. Key relationships are examined and explored, but of special note is Daltreys and Townshends separate, fascinating assessments of the formers evolution as a vocalist and frontman. (Each maintains that it was Daltreys personal connection to the central character in Tommy that turned him into an expansive, charismatic singer.) A second disc contains superb outtakes from Amazing Journey, with an emphasis on the wisdom of Daltrey and Townshend, both in their 60s, examining their individual artistries. Who fans and musicians alike will certainly enjoy an exciting analysis, from the likes of the Edge, Simon Townshend (Petes brother and member of the Whos backing band) and Eddie Vedder, of Townshends gifts as a guitarist. A wonderful mini-documentary co-directed by D.A. Pennebaker (Dont Look Back) captures a recording session from 2003, and footage of the High Numbers in a 1964 performance (from an aborted film by the Whos late co-manager, Kit Lambert) is a remarkable artifact. --Tom Keogh

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Alan Warner's new novel The Man Who Walks is his latest attempt to recapture the form and verve of his desperately brilliant, luridly beautiful,...... more

Alan Warner's new novel The Man Who Walks is his latest attempt to recapture the form and verve of his desperately brilliant, luridly beautiful, pungently lyrical Morvern Caller; his exceptional debut. The opening sentence promises, and threatens, equally. "The Nephew was lain silent atop the paper sacks of pony nuts near the roof of the agric supply warehouse, dreaming about ghost bags, when his mobile diddled 'Rule Britannia, Britannia rules the waves'". From this arch but poetic introduction Warner spins a strange, eerie, brutish, edgy, kinetic, voluptuous story, set in his usual sodden and hallucinatory Scotland-on-steroids. The characters are a motley crew of misfits, lordlings, computer geeks, scribblers, and Caledonian soaks, with names like Raincheck, Macushla, Jaxter, Hacker, Syrupy Piece, Tracy the Trolley, and Brian. Together and apart these strange creatures wander the lochs and braes of Auld Scotland doing drugs, each other, and occasional disservices to the English language. What is it about? That's a bit harder to say. The themes are the perennial Warner ones: blurred identity, rustic quirkiness, the intrusion of the surreal. There are many stunning moments of sly, shocking, vivid, Warnerian beauty; there are also a few moments of lazy underwriting, and overheated imagining. Somewhere among all this glory and disorder is probably a serious take on what it means to be a whole human being in late-capitalist Europe. This is deeply, deeply intriguing.--Sean Thomas

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The Pixar-like roll of Judd Apatow (The 40-Year-Old Virgin, Knocked Up, Superbad) continues with another sure-fire hit. In charting the meteoric rise,...... more

The Pixar-like roll of Judd Apatow (The 40-Year-Old Virgin, Knocked Up, Superbad) continues with another sure-fire hit. In charting the meteoric rise, catastrophic fall and Lazarus-like comeback of rocker Dewey Cox, Walk Hard parodies the classic Hollywood bio-pic, cashing in mostly on Walk the Line. John C. Reilly, one of Hollywood's most solid character actors, makes the most of his Golden Globe-nominated star turn as Dewey, whose road to stardom is paved with a childhood tragedy that claims the life of his prodigiously talented brother ("The wrong kid died," is his father's mantra), instant stardom (his first record is a hit just 35 minutes after it was recorded), sex and drugs, and the inevitable "dark (effen) period" that leads him to rehab.Reilly gets solid back-up from current and former Saturday Night Live alumni, including Kirsten Wiig as his incredibly fertile first wife who has no faith in his musical aspirations ("You're never going to make it," she cheerily ends one phone call); Tim Meadows (never better) as Dewey's drummer, who, in one of the film's best scenes, does a poor job of dissuading him from trying marijuana); and Chris Parnell as his bass player. Jenna Fischer leaves Pam back at The Office as Darlene, Dewey's virtuous duet partner. Hilarious cameos give Walk Hard a great "Hey!" factor: Hey, that's Frankie Muniz as Buddy Holly. Hey, that's "Kenneth" from 30 Rock. Hey, there's Jack Black and Paul Rudd as--no kidding--Paul McCartney and John Lennon revealing "a rift in the Beatles." Some of the jokes are obvious (come on; the guy's last name is Cox), others inspired. But the decades-spanning music, echoing the styles of gritty Johnny Cash, romantic Roy Orbison, obtuse Bob Dylan, trippy Brian Wilson, and even a bit of anachronistic punk rock, is as pitch perfect and affectionately observed as in The Rutles, This Is Spinal Tap and A Mighty Wind. Walk Hard earns its R-rating, particularly for a sure-to-be-talked-about scene of hotel-room debauchery. But: Hilarious? Outrageous? Twisted? To quote the title of one of Dewey's hit songs, "Guilty as Charged." --Donald Liebenson

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An essential reference for parents, teachers, librarians, and anyone working with children's theater groups. This full-color introduction to historical costume...... more

An essential reference for parents, teachers, librarians, and anyone working with children's theater groups. This full-color introduction to historical costume was created especially for children by John Peacock, a former senior costume designer for the BBC. With over 320 illustrations plus clearly written descriptions, the book offers a broad survey of Western costume from ancient times to the present day. It will be an invaluable resource for teachers and librarians who want to help children imagine what the historical characters they are studying really looked like. The book contains detailed drawings of men, women, and children wearing examples of clothing from every period. Some of the most eye-catching trends in costume history are featured, including knights' armor from the thirteenth century, the exaggeratedly pointed shoes worn in the fifteenth century, and the curled and powdered wigs of the eighteenth century. Each costume, whether worn by an Egyptian...

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Chris Donald is the founder and former editor of Viz, the tatty rag that began life in his bedroom and ultimately became Britains third best-selling magazine...... more

Chris Donald is the founder and former editor of Viz, the tatty rag that began life in his bedroom and ultimately became Britains third best-selling magazine with a circulation of 1.2 million. Rude Kids is the story of the meteoric rise of the magazine but also Chris Donalds story, including exciting episodes in his life such as being invited to dinner by Prince Charles, being questioned by New Scotland Yards Anti-Terrorist Branch, wining and dining Catherine Zeta Jones and catching his wife up to no good with Keith Richards in Peter Cooks attic. In reality these episodes are merely the fluff sitting on the surface of Donalds story of humble beginnings as the classroom creator of The Fat Crusader (the dour and boring schoolboy who could transform himself into a caped superhero) through the birth and development of classic Viz characters such as Roger Mellie, The Fat Slags, Millie-tant, Sid the Sexist, as well as lesser known but inspired pieces such as The Vibrating Bum-Faced Goats. The heart of the book is concerned with Donald and his fellow Viz collaborators, Jim, Graham, Simon and Thorpy in the day to day running of the magazine. Its about the relationship with his money-hungry publisher, the magazines astonishing growth and the crap records, videos and documentaries that led to the decline in sales and a tarnished reputation. Interestingly, the man never did live the rock and roll lifestyle , didnt do drugs, didnt sleep around, never became an alcoholic and-- after the riches rolled instill preferred to stay home and watch TV. Donald comes over as a sharp, self-deprecating bloke who hates naval-gazing, the advertising world and pretentious folk who use big words. Brutally honest about the things and people he dislikes as well as his own personal failures Donald tells a fast, entertaining and sometimes belly-laugh funny story about the years he lived and breathed Viz.--Larry Brown

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contact us our feedback fancy dress bedding boys toys girls toys pre school specials free standard uk delivery on all buy it now items what are you...... more

contact us our feedback fancy dress bedding boys toys girls toys pre school specials free standard uk delivery on all buy it now items what are you looking for leapfrog football bedding character bedding toy story wasgij other puzzles childrens puzzles zhu zhu hamsters quercetti brio sticky mosaics breyer barbie dr who lego peppa pig transformers crayola meccano geomag bratz star wars bob the builder disney toy story kids costumes ub funkeys keel soft toys silverlit safari toobs hello kitty tran

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Amazing Journey: The Story of the Who is a very satisfying, two-disc set anchored by an excellent documentary directed by Murray Lerner (The...... more

Amazing Journey: The Story of the Who is a very satisfying, two-disc set anchored by an excellent documentary directed by Murray Lerner (The Other Side of the Mirror: Bob Dylan at the Newport Folk Festival), whose 1970 footage of the band in concert appears in Lerners Message to Love: The Isle of Wight Festival. Lerners new film includes recent and extensive interviews with surviving Who members Roger Daltrey and Pete Townshend, who candidly recall every chapter of the groups career, from childhood to the premature deaths of drummer Keith Moon and bassist John Entwistle, and beyond to Daltrey and Townshends continuing, now-autumnal collaboration. Much of what is said and captured in Amazing Journey has been noted before in myriad ways (including the Whos 1979 autobiographical feature The Kids Are Alright), but the older Daltrey and Townshend get, the richer their insights into Who history. Lerners organisation of sub-topics and material also makes Amazing Journey powerful and resonant, including the Whos earliest period as an emerging club band (called the High Numbers) emphasising rhythm and blues, and Townshends gradual transformation into a songwriter trying to break traditional pop forms. Key relationships are examined and explored, but of special note is Daltreys and Townshends separate, fascinating assessments of the formers evolution as a vocalist and frontman. (Each maintains that it was Daltreys personal connection to the central character in Tommy that turned him into an expansive, charismatic singer.) A second disc contains superb outtakes from Amazing Journey, with an emphasis on the wisdom of Daltrey and Townshend, both in their 60s, examining their individual artistries. Who fans and musicians alike will certainly enjoy an exciting analysis, from the likes of the Edge, Simon Townshend (Petes brother and member of the Whos backing band) and Eddie Vedder, of Townshends gifts as a guitarist. A wonderful mini-documentary co-directed by D.A. Pennebaker (Dont Look Back) captures a recording session from 2003, and footage of the High Numbers in a 1964 performance (from an aborted film by the Whos late co-manager, Kit Lambert) is a remarkable artifact. --Tom Keogh

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A grandly entertaining, old-fashioned adventure based on the Rudyard Kipling short story, The Man Who Would Be King is the kind of rousing epic...... more

A grandly entertaining, old-fashioned adventure based on the Rudyard Kipling short story, The Man Who Would Be King is the kind of rousing epic about which people said, even in 1975, "Wow! They don't make 'em like that anymore". When director John Huston first started trying to make the film, with Gable and Bogart, the project was derailed by the latter's death. It was a few decades before Huston was finally able to realise his dream movie--and with an unimprovable cast. Sean Connery and Michael Caine are, respectively, Daniel Dravot and Peachy Carnahan, a pair of lovably roguish British soldiers who set out to make their fortunes by conning the priests of remote Kafiristan into making them kings. It's a rollicking tale, an epic satire of imperialism, and the good-natured repartee shared by Caine and Connery is pure gold. Huston lets the humour emerge naturally from the characters, for whom we wind up caring more deeply than we ever expected. --Jim EmersonStills from The Man Who Would Be King (click for larger image)

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On the 26th of March 2005, Doctor Who returned to our screens after an absence of 16 years, with a new Doctor, a new assistant and thirteen thrilling...... more

On the 26th of March 2005, Doctor Who returned to our screens after an absence of 16 years, with a new Doctor, a new assistant and thirteen thrilling new adventures. This book collects together the entire shooting scripts for the first series. Seven of the scripts are by Russell T Davies, with the remainder by Steven Moffat, Robert Shearman, Paul Cornell and The League of Gentlemens Mark Gatiss. Each story contains the essential ingredients of time travel, adventure, and the mixing of the ordinary with the fantastical that have always characterized the series, while at the same time being thoroughly in tune with contemporary culture and society. This is a Doctor Who for an age defined by irony, technology and celebrity, and the shadow cast by 9/11. It is also a more cinematic series, with fast cutting and special effects that will satisfy viewers brought up on contemporary film and television sci-fi. The shooting scripts give a unique insight into how the series was visualized and acted. Alongside the exciting action sequences and dialogue are hints about the characters emotions, and evocations of the settings in which their adventures take place. Pacey, atmospheric and thoroughly absorbing, these scripts practically read like novels. Each of the scripts will be illustrated with full-colour screen grabs, ensuring the book appeals to broad audience. Introductions by the writers will explain the inspirations for the new series and the fascinating process of creating a Doctor Who script. As the one book that ties directly into the new series, this is a must-have self-purchase or Christmas gift for all Doctor Who fans.

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This, along with "The Tale of The Fierce Bad Rabbit," was intended for very young children. It recounts the tale of a pussy cat, Miss Moppet, chasing a mouse....... more

This, along with "The Tale of The Fierce Bad Rabbit," was intended for very young children. It recounts the tale of a pussy cat, Miss Moppet, chasing a mouse. It turns out to be a bit of a battle of wits, and who do you think will win? "The Story of Miss Moppet" is number 21 in "Beatrix Potter's" series of 23 little books, the titles of which are as follows: "The Tale of Peter Rabbit"; "The Tale of Squirrel Nutkin"; "The Tailor of Gloucester"; "The Tale of Benjamin Bunny"; "The Tale of Two Bad Mice"; "The Tale of Mrs. Tiggy-Winkle"; "The Tale of Mr. Jeremy Fisher"; "The Tale of Tom Kitten"; "The Tale of Jemima Puddle-Duck"; "The Tale of the Flopsy Bunnies"; "The Tale of Mrs. Tittlemouse"; "The Tale of Timmy Tiptoes"; "The Tale of Johnny Town-Mouse"; "The Tale of Mr. Tod"; "The Tale of Pigling Bland"; "The Tale of Samuel Whiskers"; "The Tale of The Pie and the Patty-Pan"; "The Tale of Ginger and Pickles"; "The Tale of Little Pig Robinson"; "The Story of a Fierce Bad Rabbit"; "The Story of Miss Moppet"; "Appley Dapply's Nursery Rhymes"; and, "Cecily Parsley's Nursery Rhymes".

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contact us our feedback fancy dress bedding boys toys girls toys pre school specials free standard uk delivery on all buy it now items what are you...... more

contact us our feedback fancy dress bedding boys toys girls toys pre school specials free standard uk delivery on all buy it now items what are you looking for leapfrog football bedding character bedding toy story wasgij other puzzles childrens puzzles zhu zhu hamsters quercetti brio sticky mosaics breyer barbie dr who lego peppa pig transformers crayola meccano geomag bratz star wars bob the builder disney toy story kids costumes ub funkeys keel soft toys silverlit safari toobs hello kitty tran

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This fun fairy themed personalized book is great for all little girls who love fairies! Your child will be transported into a fantasy story...... more

This fun fairy themed personalized book is great for all little girls who love fairies! Your child will be transported into a fantasy story where she's the main character! Two friends and a grown up will share in the adventure too. The storyline includes her full name, age and hometown. You can even include a special message making this personalised book a great gift memento. The Fairy is a story of a greatest wish fulfilled. If you have yearned to find a fairy at the bottom of the garden, this is the story for you. Sometimes things long wished for turn out to be less than expected, but sometimes they are even better! Little girls love this book.24 page hardback book with a glossy wipe clean cover. Book size 9'x 6'. Suitable for girls. Recommend Ages up to 8.

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Wings Over Meir is a highly readable and meticulously researched account of the Potteries' now largely forgotten aerodrome. In setting the scene, the author...... more

Wings Over Meir is a highly readable and meticulously researched account of the Potteries' now largely forgotten aerodrome. In setting the scene, the author traces the district's long history of involvement in aerial pursuits, from balloon ascents and death-defying parachute drops to some of the country's earliest flying and gliding exhibitions. Among a host of memorable characters are Dolly Shepherd, Samuel Cody, Gustav Hamel, Harold Hales, and Reginald Mitchell - a young witness to some of these thrilling (and at times hilarious) events. After the development of the aerodrome, flying activities were concentrated at Meir and the airfield welcomed some of the most celebrated airmen of the day, including Charles Barnard, Sir Alan Cobham, and Charles Scott. Their hugely popular 'flying circuses' are vividly evoked within these pages. It was, though, as an RAF training school that the aerodrome came into its own, first as a base for the fledgling pilots of the Volunteer Reserve, then as a full-time RAF station upon the outbreak of war. The book profiles some of the pilots who trained there, including at least twelve of 'The Few', one of the Dam Busters, and four of those who took part in The Great Escape from Stalag Luft III. This fascinating glimpse into the area's heroic past is also a moving tribute to those who did not return.

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Picking up where the cliffhanger ending of book seven left off, this book follows Sabrina, Daphne, and Puck through the world of the Book of Everafter, where...... more

Picking up where the cliffhanger ending of book seven left off, this book follows Sabrina, Daphne, and Puck through the world of the Book of Everafter, where all the fairy tales are stored and enchanted characters can change their destinies. The girls (and Puck) must chase the Master through a series of stories, where they're willing to change what they need in order to save their baby brother. Soon, however, they are confronted by The Editor - the book's guardian - who, along with an army of tiny monsters known as Revisers, threatens the children with dire consequences if they don't stick to the stories. So they move from one legendary tale to the next doing their best to find the Master and stop his plan to steal and inhabit the child's body. Along the way they'll meet Alice, Mowgli, Jack the Giant Killer, Hansel and Gretel, and the Headless Horseman. But will they find their brother in time?

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If the relationships that anchor Lisa Cholodenko's warmly funny films appear unconventional, their problems--their pleasures--remain universal. In The Kids...... more

If the relationships that anchor Lisa Cholodenko's warmly funny films appear unconventional, their problems--their pleasures--remain universal. In The Kids Are All Right (no relation to the Who documentary), she takes on a suburban Los Angeles family with two teens, Joni (Alice in Wonderland's Mia Wasikowska) and the unfortunately named Laser (Josh Hutcherson, The Bridge to Terabithia), and two mothers, Nic (Annette Bening) and Jules (an atypically relaxed Julianne Moore), who conceived via artificial insemination. Now that she's heading off to college, Laser urges 18-year-old Joni to seek out their birth father, who lives in the area (her name comes from folksinger Mitchell). Though she hits it off with Paul (Mark Ruffalo, effortlessly charming), a motorcycle-riding restaurant owner, Laser has his doubts (troublingly, the 15-year-old's best friend uses "faggot" as an all-purpose epithet). After they introduce Paul to their parents, allegiances start to shift. While Nic, a doctor, serves as breadwinner (and disciplinarian), Jules, a homemaker-turned-landscape artist, provides the nurturing. Paul, on the other hand, lives free from attachments, inciting both curiosity and suspicion. Furthermore, Jules finds him strangely irresistible, which only expands the fissures in her loving, yet unstable union. As with Laurel Canyon, Cholodenko doesn't just create fully rounded characters, but entire communities. In the end, Kids isn't about children vs. adults as much as the family unit vs. the singular outsider. Though the story concludes on a relatively happy note, it's clear where her allegiances lie. --Kathleen C. Fennessy

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