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Jesus did it. Mohammed did it. The Jewish prophets did it. They all spoke directly with God. But none of them spoke to God with the sardonic wit, irony, and raw verve of Neale Donald Walsch.
But Walsch is no prophet, and neither is he a new messiah of a new religion. It all began when Walsch, simply a frustrated man, sat down one day with a pen in his! hand and some tough questions in his heart. As he wrote his questions to God, he realized God was answering himâ"directlyâ"through the pen in his hand. The result was Conversations with God, An Uncommon Dialogueâ"matter-of-fact, in-your-face wisdom for readers on how to live day to day while remaining true to themselves and their spiritualities.
In this expanded edition with new material, Walsch records his discussions with God about time, space, politicsâ"and even kinky sex. It is a contemporary discussion that honestlyâ"and often humorouslyâ"explores life's critical issues and offers suggestions about how the reader's world can become a much better place when oneâs mind is open to having personal conversations with God.
The book includes a new introduction, and Walsch has divided the text into three sections, each one prefaced with new, original commentary as he looks back over twelve-plus years of his deeper, more active relationship with God. The wo! rds of God are printed in blue.A revised and expanded anniv! ersary e dition of Conversations with God, Book 3
Neale Donald Walsch's ground-breaking conversation with God expands to universal proportions to include his discussion with God about "truths of the highest order, and the challenges and opportunities of the soul." The universal themes that this edition of Conversations with God, An Uncommon Dialogue explores include talks about the nature of God, the power of love, and the reality of fear; who we humans really are and who we are destined to become; and the evolution of the species that is about to take place in the universe.
This volume of Walsch's discussions with God is a profound dialogue about culture, philosophy, and spirituality of highly evolved beings - some of whom we call "aliens" or "ETs"â"in other realms of the universe. It explores how these beings have learned to view life, love and happiness and how we humans can follow them on the evolutionary path.
Book 3 includes a new introduction, and! Walsch has divided the text into three sections, each one prefaced with new, original commentary. The words of God are printed in blue.When Neale Donald Walsch was experiencing a low point in his life, he decided to write a letter to God. What he did not expect was a response and the result was "Conversations with God Book 1". In Book 2, the dialogue expands to deal with the more global topics of geopolitical and metaphysical life on the planet, and the challenges now facing the world. This incredible series contains answers that will change you, your life, and the way you view other beings.In Conversations with God: Book II, Neale Walsch and God resume their discussion and move on to larger topics than the personal issues addressed in their previous dialogue in Volume 1. For an "unedited transcript" of a conversation, Book II is remarkably well organized and articulate, as if Walsch anticipatd our "but what about" questions before we asked them. ! The peculiar pair discuss time, space, politics, and even kin! ky sex, but Conversations with God: Book II isn't here for just shock value. It is an honest look at some of the broad issues important to all of us on the planet, and a suggestion of how things might go if we are all willing to open our minds and have our own conversations with divinity. --Brian PattersonThe dialogue expands . . . Conversations with God, Book 3 is the final book of the original three-book series. As was written in the introduction to Book 1, it deals with "universal truths of the highest order, and the challenges and opportunities of the soul." In Book 3, the dialogue expands to include more about the nature of God, about love and fear, about Who We Are and who we may become, and about the evolution of the human species that is about to take its place in the universal neighborhood. Here is a profound dialogue about the culture, philosophy, and spirituality of highly evolved beings (some of whom we presently call "aliens" or "ETs") in other realm! s of the universe, and how they have learned to view life, love, and the pursuit of happiness. By reading this book, you will begin to see life in a different way and begin to question the truth of what you have known on this planet: "And so I end this dialogue as it began. As with life itself, it comes full circle. You have been given truth here. You have been given joy. You have been given love. You have been given here the answers to the largest mysteries of life. There is now only one question remaining. It is the question with which we began. "The question is not, to whom do I talk, but who listens?"
The original 1997 publication, as a guidebook for Conversations with God, Book 1, had net sales of more than 140,000 copies. This new edition includes exercises and study questions for all three Conversations with God books.
Millions have read all three volumes of Conversations with God (7.5 million copies have sold worldwide in 37 languages! ). The Conversations with God Companion helps individua! ls and g roups interactively experience the wisdom found in the books. Filled with exercises, assignments, and experiments, this new edition of the guidebook shows readers how to live the teachings that Walsch reveals in all of the books.
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Q: It's been a decade since the last Baby-sitters Club books came out, and 24 years since the first book was published. What was it like to come back to the BSC after so many years away?
Martin: I had a great time re-visiting the characters. It was fun to explore their lives in the prequel, â"The Summer Before," and to figure out what led the girls to form The Baby-sitters Club, something that would eventually change their lives. It was like a reunion with friends--friends who havenât changed a bit.
Q: Kristy, Claudia, Mary Anne, and Stacey are very different characters, which is in part why the series was and is still so popular. Every reader can relate to at least one of the characters. So, we have to ask you--which character are you most like?
Martin: I am most like Mary Anne who is the shy and quiet one. Like me, Mary An! ne enjoys more solitary pursuits such as reading and needlewor! k. My fa vorite character, however, is Kristy. I think she's my alter ego.
Q: Were you allowed to baby-sit when you were twelve? If so, were they any funny or awful stories you'd like to share?
Martin: Yes, I did a lot of baby-sitting when I was twelve. One of the worst and also funniest things that ever happened was when I was baby-sitting for our neighbors and the kids wanted to wash their parents' car. They started the job with much enthusiasm--using Brillo pads.
Q: More than 200 BSC books were published in the eighties and nineties. Are there any that you are particularly fond of and why?
Martin: My favorite Baby-sitters Club book is "Kristy's Great Idea," which is the first book and sets the series in motion. I also like the more serious books such as "Claudia and the Sad Good-bye," which deals with the death of Claudiaâs grandmother. This book was written sh! ortly after my own grandmother died. My other favorite BSC books include âKristy and the Secret of Susan,â in which the members of the BSC baby-sit for a child with autism, and "Jessi's Secret Language" in which the girls learn American Sign Language in order to communicate with a sitting charge with profound hearing impairment.
Q: Why do you think that the series is so well-loved and has endured over so many years?
Martin: I think the characters in the BSC books are easily relatable. The books deal with timeless topics including friendship, family, and school. Also, the books tackle serious issues including racism, bullying, kids with disabilities (physical and mental), and death of a loved one. These issues were relevant to kids in the 1980s and 1990s, and are still relevant to kids today. In addition to being relatable, these are characters readers can aspire to. The kids run a business--in this case, a baby! -sitting business. They are entrepreneurial, independent, crea! tive, an d confident. And at the heart of the series is the friendship--the "glue" that binds these characters. Sure, they have fights, but they're loyal and they support one another. I think a lot of us--even adults--can relate to that.
Q: "The Summer Before" takes place during the summer before the girls enter the seventh grade--where suddenly there's a ton of pressure to fit in. The months leading up to it can be filled with anxiety, excitement, and anticipation. Do you remember how you spent the summer before seventh grade?
Martin: I was nervous that summer because in the fall I would be going to a new school â" the junior high (this was in the time before middle schools). Even the words "junior high" seemed terribly grown-up. My friends and I would be attending school with eighth-graders, who were one step away from high school. I spent that summer reading, going to the community pool, taking a family trip to Cape May! , New Jersey, doing some baby-sitting, and also recovering from surgery. But the knowledge that I would soon be in junior high school colored every day and every activity and did lend the summer an air of both anxiety and anticipation.
Q: Despite the fun the girls have together in "The Summer Before," they're all dealing with pretty tough problemsâ"moving away, an absentee father, a first crush. How did you choose the issues you wanted to focus on?
Martin:Â One of my favorite things about writing a series was that the characters themselves generated plot ideas for later books. One of the themes that developed as the series progressed was that of Kristy's relationship with her father. It was an idea I enjoyed exploring, and when I had the opportunity to write the prequel I realized that this summer would be a charged time for Kristy, and that I could introduce the issues she had with her father here; then they could! unfold in the later books. The same applied to Stacey. Her re! asons fo r moving to Stoneybrook had been revealed in later books, but I realized that during this particular summer the reader could actually watch the events take place. The other issues â" a first crush, wanting more independence yet still feeling like a kid--are themes that I felt would resonate with most "tween" readers.
Q: Even though the books have been out of print for ten years there are still some very devoted fans. Surely you must have received a ton of letters about the series over the years. Are there any that stick out in your mind?
Martin: The most memorable are stories of girls who have written to me and told me that Iâve made an impact on their lives, that The Baby-sitters Club books have turned them into readers. Some have also said that the BSC books made them aspire to become writers. Iâve also heard from a lot of the original fans who grew up to become teachers, librarians, editors, journalists, entre! preneurs, etc. To know that this series inspired a generation of readers and writers is very humbling.
Q: Thereâs been a lot of speculation in the blogosphere about where Claudia, Kristy, Mary Ann, and Stacey would be now, in 2010, had they grown up. Do you have any thoughts on what path each would have taken?
Martin:Â I understand the fascination of the older BSC fans who would like to know what happened with the characters when they got older. Itâs thrilling to realize that after all these years the fans remain passionate about the books and the characters in The Baby-sitters Club. I can see Kristy running a business--I can also see her being in politics. I think Mary Anne became a teacher. I imagine Stacey went into fashion--not as a designer, but maybe on the business side. And Claudia became an artist. I think fans can fill in for the rest of the characters!
With kitschy character names like Jericho and Chicago (Arnie's partner, played by Kevin Pollack) and lapses in logic that any 5-year-old could spot, End of Days is a loud, aggravating movie that would be entertaining if it were intended as comedy. But Schwarzenegger and director Peter Hyams approach the story as an earnest tale of redemption and tested faith, delivering a ridiculous climax full of special effects and devoid of dramatic impac! t. You're left instead to savor the verbal and physical sparri! ng betwe en Satan and Jericho, resulting in the most thorough pummeling Schwarzenegger's ever endured onscreen. Of course he eventually gets his payback, just in time for New Year's Eve. Perhaps he was touched by an angel. --Jeff Shannon
Lydia Lozen Magruderâ"the great-granddaughter of a female Apache war-shamanâ"has seen visions of the End since childhood. She has constructed a massive ranch-fortress in the American Southwest, stocked with everything necessary to rebuild civilization.
Now her visions are coming true. John Stone, once a baseball star and now a famous gonzo journalist, stumbled across a plan to blast humanity back to the stone age. Then he vanished. Lydiaâs only hope of tracking him down lies with her stubborn, globe-trotting daughter, Kate, Stoneâs former lover.
Kate is about to step right into the plottersâ crosshairs. Stone has been captured by a pair of twin Middle Eastern princesses, hell-bent on torturing him until he reveals ! all he knows.
Meanwhile, a Russian general obsessed with nuclear Armageddon has also disappeared...as have eight or more of his Russian subs, armed with nuclear-tipped missiles.
The world is armed for self-destruction.
Who will survive?
With kitschy character names like Jericho and Chicago (Arnie's partner, played by Kevin Pollack) and lapses in logic that any 5-year-old could spot, End of Days is a loud, aggravating movie! that would be entertaining if it were intended as comedy. But Schwarzenegger and director Peter Hyams approach the story as an earnest tale of redemption and tested faith, delivering a ridiculous climax full of special effects and devoid of dramatic impact. You're left instead to savor the verbal and physical sparring between Satan and Jericho, resulting in the most thorough pummeling Schwarzenegger's ever endured onscreen. Of course he eventually gets his payback, just in time for New Year's Eve. Perhaps he was touched by an angel. --Jeff Shannon
Why is it that our current twenty-first century A.D. is so similar to the twenty-first century B.C.?
Is history destined to repeat itself? Will biblical prophecies come true, and if so, when?
It has been more than three decades since Zecharia Sitchin's trailblazing book The 12th Planet brought to life the Sumerian civilization and its record of the Anunnakiâ"the extraterr! estrials who fashioned man and gave mankind civilization and r! eligion. In this new volume, Sitchin shows that the End is anchored in the events of the Beginning, and once you learn of this Beginning, it is possible to foretell the Future.
In The End of Days, a masterwork that required thirty years of additional research, Sitchin presents compelling new evidence that the Past is the Futureâ"that mankind and its planet Earth are subject to a predetermined cyclical Celestial Time.
In an age when religious fanaticism and a clash of civilizations raise the specter of a nuclear Armageddon, Zecharia Sitchin shatters perceptions and uses history to reveal what is to come at The End of Days.
DVD Features:
Audio Commentary
Music Video:Fred D! urst music video - "Behind Blue Eyes"
Theatrical Trailer:Fred Durst music video - "Behind Blue Eyes"
DVD Features:
Audio Commentary
Music Video:Fred Durst music video - "Behind Blue Eyes"
Theatrical Trailer:! Fred Durst music video - "Behind Blue Eyes"
Stills from Delgo (Click for larger image)
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Stills from Delgo (Click for larger image)
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In his last completed role before h! is tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan (Memento) follows his critically acclaimed Batman Begins with an even better sequel that sets itself apart from notable superhero movies like Spider-Man 2 and Iron Man because of its sheer emotional impact and striking sense of realism--there are no suspension-of-disbelief superpowers here. At 152 minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans--and not just superhero fans--The Dark Knight is a film for the ages. --David Horiuchi
On the Blu-ray disc
Th! e Dark Knight on Blu-ray is a great home-theater showoff ! disc. Th e detail and colors are tremendous in both dark and bright scenes (the Gotham General scene is a great example of the latter), and the punishing Dolby TrueHD soundtrack makes the house rattle. (After giving us only Dolby 5.1 in a number of big Blu-ray releases this fall, Warner came through with Dolby TrueHD on this one.) One of the most interesting elements of The Dark Knight was how certain scenes were shot in IMAX, and if you saw the movie in an IMAX theater the film's aspect ratio would suddenly change from standard 2.40:1 to a thrilling 1.43:1 that filled the screen six stories high. For the Blu-ray disc, director Christopher Nolan has somewhat re-created this experience by shifting his film from 2.40:1 aspect ratio (through most of the film) to 1.78:1 in the IMAX scenes. While the effect isn't as dramatic as it was in theaters, it's still an eye-catching experience to be watching the film on a widescreen TV with black bars at the top and bottom, then seeing th! e 1.78:1 scenes completely fill the screen. The main bonus feature on disc 1 is "Gotham Uncovered: The Creation of a Scene," which is 81 minutes of behind-the-scenes footage about the IMAX scenes, the Bat suit, Gotham Central, and others. You can watch the film and access these featurettes when the icon pops up, or you can simply watch them from the main menu. A welcome and unusual feature is that in addition to English, French, and Spanish audio and subtitles, there's an audio-described option that allows the sight-impaired to experience the film as well.
Disc 2 has two 45-minute documentaries on Bat-gadgets and on the psychology of Batman, both in high definition. They combine movie clips, talking heads, and comic-book panels, but aren't the kind of thing one needs to watch twice. More engaging are six eight-minute segments of Gotham Central, a faux-news program that gives some background to events in the movie, plus a variety of trailers, poster art, and more. The! BD-Live component on disc 1 is more interesting than on some ! earlier Blu-ray discs, which could be simply a matter of the content starting to catch up with the technology. There are three new picture-in-picture commentaries, by Jerry Robinson (creator of the Joker), DC Comics president Paul Levitz, and Senator Patrick Leahy (D-Vt.--he's a Batman fan who's made some movie and TV cameos), plus you can record your own commentary and upload it for others to watch. There are also three new featurettes ("Sound of the Batpod," "Harvey Dent's Theme," and "Hans Zimmer and James Newton Howard") and two motion comics ("Mad Love," featuring Harley Quinn, and "The Shadow of Ra's Al Ghul"). No longer available is the digital copy of the film (compatible with iTunes and Windows Media, standard definition, download code expires 12/9/09). --David Horiuchi
Product description
The follow-up to Batman Begins, The Dark Knight reunites director Christopher Nolan and star Chri! stian Bale, who reprises the role of Batman/Bruce Wayne in his continuing war on crime. With the help of Lt. Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves effective, but soon find themselves prey to a rising criminal mastermind known as The Joker, who thrusts Gotham into anarchy and forces Batman closer to crossing the fine line between hero and vigilante. Heath Ledger stars as archvillain The Joker, and Aaron Eckhart plays Dent. Maggie Gyllenhaal joins the cast as Rachel Dawes. Returning from Batman Begins are Gary Oldman as Gordon, Michael Caine as Alfred and Morgan Freeman as Lucius Fox.
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This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.
Sally, a young girl, moves to Rhode Island to live with her father and his new girlfriend in the 19th-century mansion they are restoring. While exploring the house, Sally starts to hear voices coming from creatures in the basement whose hidden agenda is to claim her as one of their own.Fondly remembered for scaring the Tab out of impressionable viewers, 1973's television movie Don't Be Afraid of the Dark stands today as a minor classic of irrational dream-logic horror, with an ending that goes straight for the worst-case scenario. Despite (or perhaps because of) its wonky effects, minimalist character development, and snicker-worthy Freudisms, it knows how to linger into the wee small hours. Cowriter-producer Guillermo del Toro's mash note of a remake is a superior movie in virtually all aspects, really, yet it somehow! fails to ping the same whimpering neurons. Director Troy Nixe! y's film follows the same basic blueprint as the source material--a fractured family (Guy Pearce, Katie Holmes, and Bailee Madison) moves into a dark old house, only to be tormented by a gaggle of tiny chatterbox demons--but with a much greater emphasis on the mythology and back story of the creatures. Del Toro has long proclaimed his love for the original movie, and it's rather fascinating to see the filmmaker attempt to shoehorn his own trademark obsessions (grim fairy-tale origins, spooky little girls, odd Lovecraftian angles, etc.) into the existing material. Still, such Gothic curlicues, however nifty, ultimately end up diluting the solid-state nightmare fuel of the premise. Aside from a few solid shocks and a strong performance by Holmes, this heartfelt redo is unlikely to have the same lasting effect on audiences as the much cruder original. Instead of focusing on the hows and whys, that one just wanted to freak the viewer out. --Andrew WrightSally, a young girl, moves! to Rhode Island to live with her father and his new girlfriend in the 19th-century mansion they are restoring. While exploring the house, Sally starts to hear voices coming from creatures in the basement whose hidden agenda is to claim her as one of their own.Fondly remembered for scaring the Tab out of impressionable viewers, 1973's television movie Don't Be Afraid of the Dark stands today as a minor classic of irrational dream-logic horror, with an ending that goes straight for the worst-case scenario. Despite (or perhaps because of) its wonky effects, minimalist character development, and snicker-worthy Freudisms, it knows how to linger into the wee small hours. Cowriter-producer Guillermo del Toro's mash note of a remake is a superior movie in virtually all aspects, really, yet it somehow fails to ping the same whimpering neurons. Director Troy Nixey's film follows the same basic blueprint as the source material--a fractured family (Guy Pearce, Katie Holmes, and! Bailee Madison) moves into a dark old house, only to be torme! nted by a gaggle of tiny chatterbox demons--but with a much greater emphasis on the mythology and back story of the creatures. Del Toro has long proclaimed his love for the original movie, and it's rather fascinating to see the filmmaker attempt to shoehorn his own trademark obsessions (grim fairy-tale origins, spooky little girls, odd Lovecraftian angles, etc.) into the existing material. Still, such Gothic curlicues, however nifty, ultimately end up diluting the solid-state nightmare fuel of the premise. Aside from a few solid shocks and a strong performance by Holmes, this heartfelt redo is unlikely to have the same lasting effect on audiences as the much cruder original. Instead of focusing on the hows and whys, that one just wanted to freak the viewer out. --Andrew WrightAn old house...a mysterious locked room... a terrifying secret. Elements that make a horror movie memorably chilling get a taut, spooky reworking in Don't Be Afraid of the Dark. Kim Darby (True Grit) and! Jim Hutton (The Green Berets) star as Sally and Alex, young marrieds who inherit a crumbling mansion. Despite warnings to leave well enough alone in her new home, Sally unlocks the mysterious room, opens a bricked-up fireplace - and unleashes a horde of hideous, whispering, murdering mini-demons only she can see and hear. Alex thinks she's imagining things. We know she isn't. And we know Sally should be very, very afraid of the dark!This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.
Legendary producer / director Dan Curtis (DARK SHADOWS, THE NIGHT STALKER) teams up with writers Richard Matheson (I AM LEGEND, THE TWILIGHT ZONE) and William F. Nolan (LOGANâS RUN, BURNT OFFERINGS) to present three tales of horrific suspense in this made-for-television anthology that also showcases the tremendous acting talent of Karen Black (FIVE EASY PIECES, THE DAY OF THE LOCUST), who plays no less than four! distinct roles. In "Julie," an aggressive college student se! duces an d ultimately blackmails his seemingly shy English professor. In "Millicent and Therese," two polar-opposite sisters become increasingly hell-bent on the undoing of one another. And in "Amelia," a woman falls prey to a murderous Zuni fetish doll.
Dan Curtis, the creator and producer of such out-of-the-ordinary TV classics as the willfully offbeat gothic soap opera Dark Shadows and the proto-X-Files series The Night Stalker, remains best known for the Zuni fetish doll that terrorizes Karen Black in Trilogy of Terror. The wild-eyed doll, with its snapping jaws and screeching yells, borders on camp, yet its relentless attacks and single-minded, homicidal drive make it an absolutely terrifying figure in the climactic chapter of this trilogy of short films based on stories by Richard Matheson. In the first story, "Julie," Karen Black plays a mousy college professor blackmailed by an obsessed student, and in "Millicent and Therese" she plays sisters c! onsumed with an intense hatred of one another that comes to a head when their father dies. Both of these films conclude with Twilight Zone-ish twists and are more clever than gripping, kept alive mostly by Black's gleefully theatrical performances. With "Amelia," however, Black delivers an almost solo show, playing against the famous Zuni fetish doll, a wooden statue that comes to life when the a protective chain slips off the figure and releases the evil spirit. Curtis turns her apartment into a claustrophobic cage trapping the increasingly hysterical woman as the unstoppable figure hacks at her legs with a kitchen knife and chomps down on her arms and neck with the relentless intensity of a bulldog. It's still a classic of small-screen horror. --Sean Axmaker