Movies Books

I was given a copy of this book by a friend, because i'm always nagging her about omens and synchronicity. I wasn't sure about the whole movie star angle at first, but as I started to read I found i could relate, to everything in this book and see the parallels in my own life. Forget about Harry Potter, real magic is right here in our daily lives and it doesn't take much training to start to see it... Great book! Also the DVD that came with the book is great fun, witches in New Orleans, more of a fantasy, than the book, but it was totaly fresh, better than the Craft or Practical Magic. (naughtier too)

If you are pursuing dreams in your life, this book is for you!

I found this book to be an excellent and refreshing read. The Hollywood stigma is that you either survive or die, and Jacobs definitely supports the theory that you can do-it-yourself. His amazing collection of work and insightful abilities to craft a good story are truly masterful.

READ THIS BOOK. BUY THIS BOOK. DELIGHT IN THIS BOOK.

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Wow! What a fun read! It's smart, funny, inspiring, a quick read, everything you could expect from a great book! The book includes a special DVD of the author's cult film classic film Lucinda's Spell, starring Jon Jacobs and model Kristina Fulton. The DVD alone is worth the price of addmission, baby!

The book itself is wondrous. The DVD is just the icing on the already marvelous cake? So! Are you getting the impression I liked it? Mr. Jacobs has a new comedy called HEY DJ that's coming out soon. If it's half as good as this book HEY DJ will be the film to watch for this movie season!

The Book Of Omens: The Magical True Adventures Of A Self-Made Movie Star is the amazing autobiography of Jon Jacobs, a British-born actor who followed his own dreams to stardom and who has appeared in (or directed) over two dozen feature films. Jon's marvelous life and his deep belief in omens as signals from the universe itself to guide him to his ultimate destiny, mark this original, attention engaging, and reader enriching narrative. Enhanced with the inclusion of a 105-minute DVD of the movie "Lucinda's Spell", The Book Of Omens is truly exceptional and confidently recommended.

It is amazing how much fun information that the author has packed in this book!

This book is great! It's a perfect book for parties, car trips, etc. There are questions for everyone at all levels of Brady knowledge. It's so much fun watching others in angst as they desperately try to remember the answer to a question, and even more fun watching someone rushing to answer a question when they swear they don't remember much about the show! HIGHLY RECOMMENDED!

Hilarious - I haven't watched the "Brady Bunch" in years, but I was a bit startled by the way it all came back after reading a few questions. Why do I remember this stuff? Why does the author? As absurd as it is, the memories of such a dumb TV show are great fun.

When I got this book I figured I knew every trivia question there was for the Brady's. I was wrong. Where did she come up with this stuff? There is so much detail in this book and it's organized in a way that makes it something you can browse or pass around for trivia questions. I was also impressed with how everything tied back to the episode with all the details from each show. A cool book for any Brady fan.

This book is a great read for people of all ages. Whether your interested in learning more about "The Rock" or need some background information on it, this is the one book for you.

From the colorful pictures scattered throughout the pages to the easy to read layout, you will find yourself immersed in the horrific atmosphere that is Alacatraz.

Few books manage to capture so many elements that make a book sucessful like Breakout! Escape From Alcatraz does. I guarantee you will feel as if you've actually walked through Alacatraz and know exactly why they call it, "The Rock".

I was previewing this book for my 2nd grade classroom and became completely enthralled in it! It's a great adventure/mystery story sure to capture the attention of any child who likes action and suspense! It creates great imagery of Alcatraz and leaves the reader with an eerie feeling of not knowing whether these men made it or drowned in the bay. It's definitely one of my students' favorites in the classroom.

This book outlines in vivid historical detail the legendary escape of three men from the most inescapable prison in U.S. history. The book also explains a brief history of the island of Alcatraz in addition to a brief account of its final days. One of the major themes of this book is that not everyone will be shut up. Out of every prison, or every situation, there is a way out, and there is an escape if one is only willing to take the risks.

Along with colorful illustrations which tell a story by themselves and photographs which provide historically accurate detail, the book also tells an exciting though quite short, true story about the legendary island of Alcatraz. The text is not overrun with needless detail nor is it too general. What I liked best is that by the end of the book, the reader feels as if he or she has just been given a tour of the island prison.

I think Escape From Alcatraz Island was a great book because it had alot of adventure,and I could picture in mind what was going on.also I think it must have been really hard getting chased by a gang through san fransisco near the dwarfs pier,I could probably imagine what it was like locked up in a cell at night in Alcatraz, having to find away to get back home during the morning.

This book was fun to read, and it was interesting to learn how David Paterson himself was the inspiration for Jess in the book. It's not quite as in-depth as I hoped it would be (it's not even very thick), but if you love the movie it's fun to have.

This is a great book to understand the story behind the movie, and the story behind the story as well.

You want to be on the "in" to knowing about all things Terabithia? Well, be sure to get this book. Make sure you have read the book, "Bridge to Terabithia" as talking about events which take place both in the book and in the movie will spoil what happens if one is already not familiar with the book. The pages are filled with photographs, both of filming and behind the scenes. This book is nicely done and was written by David Paterson, the person who wrote the screenplay of the new movie, who is also Katherine Paterson's (the author of "Bridge to Terabithia") son whom the Newberry winner book was partially dedicated to in addition to another person. My one complaint, if I had a complaint, would be that I wish that this book was longer though it is 47 pages long-which is long for a behind the scenes type of book. I throughly enjoyed the book and I am in my early twenties. My niece who is eight, read the book this afternoon and enjoyed it as well. The back of the book says that it is for ages eight and up which I think is appropriate given the sensitive nature of the book that the movie is based on and the fact that they reference events from the book and movie in this companion book. Excellent for those who are awaiting the movie's release!

If you have seen the updated version of "Bridge to Terabithia," then you probably know what a rare, landmark film it really is. Geared for children, yet easy for people of all ages to identify with, it is one of those special stories that sticks with you.

The writing of an appropriate screenplay was possibly the most important element of making this a successful transition from the popular children's book, and nobody was more qualified for the job than David Paterson, the son of the author Katharine Paterson (not to mention the inspiration for the Jess Aarons character).

Not many people know just how much anguish this man has gone through with the true-to-life events of the book and movie, but a somewhat stronger image is painted through this book. Though it is short, it is a nice companion to the film and goes behind the scenes from David's point of view. There is some information about Josh Hutcherson and AnnaSophia Robb, two gifted young actors who essentially carried the entire film with their dead-on performances in the lead roles. I truly believe that the movie could not have been made nearly as well without them--particularly Josh Hutcherson, whose obvious connection with this character is evident from beginning to end. You hear about actors who have the gift of communicating a message with their eyes and facial expressions, but this young actor really has it down cold. I give him a lot of credit for what he did with this character.

This book also talks a bit about the film's special effects, the cast and crew, and the inevitable challenges that came with putting the movie together. It was not enough to just get the cast and start filming; it was a deliberate process, and with a story as important as Katharine Paterson's, it needed to be done the right way. With David's well-written script--along with the hard work and talents of everyone involved--they managed to get it just right, and it is one of the rare book-to-film cases that does genuine justice to the original author.

All in all, this is a great book to buy if you are (like me) a huge fan of the movie and would like a little something more. It includes a lot of nice pictures, along with some brief quotes from both the book and movie. Throughout it all, though, the prominent voice is from David Paterson himself, who really is the heart and soul of the entire thing. There's one line of his from this book that says it best: "When people meet me today and learn about the connection between my life and Bridge to Terabithia, many times their response is 'Wow. You're the original Jess. That's cool.' They mean it in a positive way, but it's like seeing a scar on somebody and remarking that the scar looks cool. They don't understand the pain that caused it."

Indeed, David's story is bittersweet, and this book is one way to get a little more insight on what this man went through when he lost his own "Leslie Burke"--his best friend. Nothing hits home quite like a film that reflects a true story, and through the tragedy of it all, this memorable story was able to be written. A lot of people have come to know Terabithia and be inspired by its message, and when you think about how beautiful that is, it truly starts to make sense when David Paterson says that "some gifts come in two forms."

I highly recommend this item, as well as the book and movie that made it possible in the first place. Terrific job to Katharine and David Paterson for bringing the story to life, and may it continue to touch people's lives for years to come.

I've read several first novels this summer and this one is my favorite. I began, trying to be a critical reviewer, but was caught up in the story, the development of the characters and their interaction. It was so real that I found myself wanting to reach out, to comfort, to encourage each relationship. The surprising thing is that Ms. Perabo is so young to have such an understanding of the complexities of human relationships with their ebb and flow. If someone doesn't make a movie of this novel they are missing a sure hit! I look forward to more from Ms. Perabo! By the way, I make sure that everyone of my grandchildren's grade school teachers gets a present of her book "Writers in the Schools: a Guide to Teaching Creative Writing in the Classroom" to start each school year! If you have children, or grandchildren, you'll want to read that too!

I loved this book. The style is beautifully simple and unsentimental--a bit like Raymond Carver or Tobias Wolff, only things actually happen. The story centers around the young son of a fireman involved in an accident, and it takes some surprising yet plausible turns. The characters are very real and complicated, and you keep seeing them differently as the novel progresses. Funny and wise by turns. I wished it was longer.

In this novel, Perabo deftly examines the myths that inform our lives, our families, our communities, and the way those myths are distorted by pressures that gather within the very structures they try to explain. Heroism, self-sacrifice, and grace under pressure all become corrosive elements within the small and fragile family she depicts through the eyes of its 12 year old son, Paul Tucker. The novel moves us with its characters as it forces us to think about its ideas, with just enough suspense thrown into the mix to keep us turning pages. Spare and haunting, smart and unblinking, a wonderful first novel.

There are books that you read in a few hours, there are books you only read now and then, and then there are books that you begin reading Saturday morning and don't put down until the sun is already well across the sky, becuase you can't. One of the most interesting things about The Broken Places is through out a great deal of the story there is no great physical action taking place, and yet you feel pulled to turn the page. I enjoy the way Ms. Parebo allows you to see the story from different points of view, and feel the changes that happen in people as they come to grips with who they really are. The Broken places is a story about truth, and how different that can be to each person effected by one event. How refreshing to see someone acknowledge that in a story that isn't always comfortable.

Joss Whedon at his best. The characters are spot-on. Very interesting story. Really good artwork.

SPOILERS AND QUESTIONS BELOW.

I never figured out why Amy thought it would be such a tragic curse to put on Buffy that to get out of her coma she needed to be given a kiss by one who truly loved her. What's the difficultym just have someone kiss her who's in love with her! A real curse would have been that she couldn't wake until someone who *despised* her was persuaded to kiss her. They covered this thoroughly in Fairy Tales 1.02.

I also wonder why Andrew, our wonderful Andrew, is still stuck in his supernumerary job training potential slayers, as if any slayer worth her salt wouldn't rebel on learning she was expected to take classes from a twit, I wonder why Andrew's monologue about EMPIRE STRIKES BACK has him referring to "Billy D."--evidently some sort of sassy Andrew shorthand for "Billy Dee" (Williams, as Lando Calrissian), but why represent the two spoken words Billy Dee as Billy D.? May seem like a small thing but then again, so is the use Dark Horse is making out of Andrew. I guess they just have decided, he's going to be the Mr. Peepers of a new generation.

Buffy fans will be expecting a lot after seven stellar seasons on television and the success of the first issue of "Season Eight." So the question here is this: Does Issue #2 deliver?

In short, yes. I have to say though--there is so much going on, so many jokes, and so much foreshadowing that I wasn't able to completely enjoy the Jossy goodness until my second read. The first read intrigued me, but the second wow-ed me.

The plot continues directly from the previous issue. Amy (the former rat) is working with the government to take out Buffy and the slayers, and she has an army of zombies to back her up. The ending sequences are amazing--I'm already itching for May 2nd to come so I can get my hands on the third issue. There was a big revelation about half-way through the comic, and clues to who the Big Bad of the season will be as well. Giant Dawn is great, Buffy is true to herself, and Xander is playing the biggest role he's played since the first season.

This issue also re-introduces two fan favorites: Giles and Andrew. So, all in all, this issue is just as good as the first. But did anybody expect anything less? I mean, come on--Joss Whedon wrote it.

9/10

Warning: Thar be spoilers ahead!

Remember each week those exciting words (which alerted us that we were about to get a new exciting episode of the best show on TV)? "Previously on BUFFY THE VAMPIRE SLAYER . . . " The new comic series seems to be doing something along these same lines. On the inside of the outer cover are printed the following:

"This story takes place after the end of BUFFY THE VAMPIRE SLAYER Season Seven.

"The Slayer population of the world has gone from two to nearly two thousand. Almost five hundred are working around the world with Buffy's organization in squads--or "terrorist cells," according to the American military. Buffy, Xander, Dawn, and a passel of Slayers are currently bunked out in a Scottish castle, where the latest mission revealed a strange symbol carved into human bodies.

"Also, Dawn's a giant."

This may be a summary that is rewritten each month to reflect what has happened in the previous issues.

The first episode in Season Eight established the situation; this one begins moving the story forward. The U.S. military (or rather, a military leader who has on his chest the strange symbol referred to in the monthly summary) has authorized Amy the witch and her army of zombies to go after Buffy and her cohorts. After the story begins with three very different approaches to training the new slayers by first Giles, then Buffy, and finally Andrew (who actually couldn't be said to be training them at all) we find Xander explaining why Dawn took the form of a giant when it was possible she could have assumed other forms instead (obviously, she is trying to get her sister's attention in the most blatant manner possible). The catch is, does Xander really tell any of this to Buffy or is it all just part of what we later learn is a spell-induced sleep in which she experiences an unbroken nightmare. And in a fairy-tale twist she can only be awakened by the kiss of true love. We can, of course, imagine a line of possible candidates for that: Angel and Spike fighting to be first in line. Well, of course Buffy will be awakened, and sooner rather than later. Can't imagine her being asleep at the end of the next episode. The tricky part is how one defines "true love." That needn't mean romantic love. My gut tells me that the kiss won't come from any of the usual suspects. My money is on Dawn. Yeah, I know. No one likes Dawn. But the brute fact is that except for struggling to save her in Season Five, Buffy has been a truly awful sister. Not in a Cinderella step sisterly way, but in the completely neglectful, can't-spare-her-a-minute way. But early in Season Six, Dawn seemed to miss her more than anyone. Like I said, my money is on Dawn.

The issues ends with Buffy asleep, the castle under assault by hundreds of zombies they can't keep at bay, Amy gloating that she could handle slayers with ease, so there was no one there who could take her on. The final frame is of someone who says that they would "like to test that theory." And thus Willow makes her first appearance in the story.

I am going to say something that I don't think I can say often enough. I don't want Joss Whedon writing comics. I want him creating new television shows. I suspect he enjoys the control that a comic gives him. I am sure he is tired of battling studios and networks. I can understand that. But once the battles have been waged and the BS has been waded through, Joss Whedon has been able to create some of the most extraordinary, most timeless television that has ever been made. He needs to get back to it. That being said, I am so much happier with him doing BUFFY Season Eight than either his X-Men project or the Runaways (and mind you, I like both the X-Men and the Runaways). There are others who can tell further stories about the X-Men and the Runaways, but Joss Whedon is only one who can give us authoritative Buffy stories. So I am acquiring these with joy and my heart and impatience in my soul. But I want him back in television. We've had some great TV since BUFFY and ANGEL left the air. LOST, 24, VERONICA MARS, and especially BATTLESTAR GALACTICA have filled the huge gap BUFFY left at its departure. But LOST needs to start winding down (whether it will has to be seen), BATTLESTAR GALACTICA (the only show to completely match the brilliance that was BUFFY) has possibly only one more season left and at most two before Ron Moore brings his series to an end. 24 is definitely in decline. VERONICA MARS might be cancelled. In short, JOSS! WE NEED YOU TO COME BACK TO TELEVISION! But in the meantime, I'll wolf down every one of these issues.

Television writing is simply not supposed to be this good. Or at least we have become acclimated to a good deal less even in very good shows. But I am not sure that any other show in the history of television has put together five shows with scripts this strong. In the history of Buffy, these are the episodes in which the show moved to an entirely different plane from all other contemporary shows. Not since TWIN PEAKS had TV seen anything this well written. Seeing these episodes for the first time, I was in complete awe that the Neanderthals running the WB had actually allowed anything this good to hit the screen. These are also significant episodes because in them Buffy started becoming a show that appealed as much to adults as to teens, as the themes and issues became progressively more complex and darker.

"Surprise" was written by Marti Noxon, who had very quickly in her first season on Buffy established herself as one of the best writers on the show. She was not merely good; she was prolific. This is one of the more interesting scripts to compare to the actual show produced. These collections compile the shooting scripts; they are not transcripts of the final product. Usually, one will find slight wording alterations, or small scenes that got excised in the final shooting. Often shooting instructions provide a great deal of insight into what is happening in the scenes. But in this script, there are significant differences between the final result and the script, especially scenes involving Cordy and Xander. The script was much, much too long for the time slot, and heavy editing took place. The story itself, of how Buffy came to lose her virginity to Angel, resulting in his losing his soul, provides the foundation for everything that happens thereafter in both BUFFY and ANGEL. We'll leave aside the fact that the gypsy curse-that because he has a soul Angel lives in torment for his past crimes, but if he achieves a moment of perfect happiness he loses his soul and reverts to the evil Angelus-is a bald and rather dumb plot device. It makes no sense as a curse, and his potentially becoming evil again makes the curse profoundly self-defeating. But so much else is tremendous, I and apparently everyone else cut them some slack on this one.

Joss Whedon himself wrote "Innocence," in which we learn that Angel, after having made love to Buffy, has lost his soul. If the show had been a teen series before, it was not after we see Buffy's boyfriend literally transformed into a monster on the morning after. It's an old adage that bad characters are more interesting than good ones, and it is reproven in the transformation of Angel into Angelus. But not just Angel, but Buffy is transformed as well. I believe the title in part is a reference to Blake's SONGS OF INNOCENCE AND SONGS OF EXPERIENCE. Buffy loses her innocence as she gains in experience. Willow also struggles with new pain when she catches Xander and Cordelia kissing in the stacks. (By the way, part of the joy of the scripts is reading the directions. As Xander and Cordy begin to kiss we read: "They haben der big smootchen." And when Willow sees them she "has pain on her face like a blush.") In an episode of many awesome moments, one of my favorites is the freshly reborn Angelus killing a streetwalker smoking a cigarette, and then him expelling her smoke out of his lungs after he kills her. That was shot precisely as written.

"Phases" was written by the team of Rob Des Hotel and Dean Batali, who were also the final script editors on the show until they left for THAT SEVENTIES SHOW. Often in Buffy episodes as strong as "Surprise" and "Innocence" are followed by relatively weak episodes, as if they are trying to create a balance between weak and strong scripts. But "Phases" is a fun, fascinating, and tragic episode in its own right, although it provides a break from the emotional roller coaster of the previous two shows. Buffy never deals with potentially hackneyed subject like werewolves in unoriginal fashion, and that is true here.

Well, others start noticing Cordy and Xander's not-terribly-well-hidden relationship, so Cordy dumps Xander to salvage her social reputation. Marti Noxon produced yet another stellar script in "Bewitched, Bothered & Bewildered," in one of the funniest shows ever in the series. Because Cordy dumped Xander, he wants revenge by having Amy the school witch (from the first season) created a love potion that would make her love him, allowing him to then dump her. But it backfires and every girl in the school EXCEPT for Cordelia falls her him. After the emotional stress of the previous episodes, the show provides a great deal of comic relief. Great moment: Xander demands that Cordy give back the necklace he gave her as a Valentine's present. She goes to her locker to get it, but discretely takes it from around her neck.

"Passion" by Ty King is simply stunning. The show had often proven it could be funny, and sometimes scary, but there is gothic horror in this episode that can bring a tear to the most hard-hearted. Angel's voiceovers would work perfectly in the final shooting, giving a structure to what is one of the most tragic episodes in the run of the show. The episode also served as a warning to its fans: anything can happen on this show. On other shows, the main characters are safe, but here they can die, and proved it by having Angel murder Jenny Calendar. But her death was not as horrific as the macabre scene where Angel has rearranged Giles's apartment to make it seem like Jenny had staged a romantic tryst, only for a romantically touched and excited Giles to ascend his stairs to find Jenny's body in his bed.

This is by far the best single collection of scripts yet published in this series. One writer in the early nineties stated that television had a greater potential for excellence than cinema, and that eventually a series could come along to prove this. I believe that it was in these five episodes that BUFFY THE VAMPIRE SLAYER did precisely that.

Though the quality is not as great as the previous script books, Volume 3 of Season 2 does have some of the best scripts of the season!
The book is slightly smaller than the previous 4, yet holds as many scripts. The pictures of the side and cover are smaller as well. Still, it holds the scripts that are the main point. Nice otherwise for any Buffy fan!

This collection of shooting scripts contains three of the greatest scripts ever produced for the show, as well as one of the weakest. The two-part "Becoming" solidified the emergence of BUFFY THE VAMPIRE SLAYER as one of if not the best-written shows in the history of television. Although the season as a whole was remarkable, earlier in the season with "Surprise" and "Innocence," the show moved beyond being merely one of the finest shows on television to one of the finest ever produced. The emotional depth and complexity of those two episodes, and later of "Passion," signaled that this truly was a remarkable series.

The question as the second season began winding down was whether the season ending could match the highpoints of the season.

"Killed by Death" didn't bode well for the end, being the second weakest show of the season (following "Some Assembly Required"). It was not a flat out dreadful show, but it failed to match the inventiveness and passion of earlier episodes. Whenever fans vote for the weakest episodes in the history of the show, "Killed by Death" usually receives a significant number of votes, though it never rivals such shows like "Some Assembly Required" or "Beer Bad" for the top (bottom?) slot. The episode provides some opportunities for some funny lines, such as Xander's "My whole life just flashed before my eyes. I've got to get me a life."

If one had any idea that the show might be slipping at all, "I Only Have Eyes for You," put any fears to rest. Marti Noxon's final script for her first year with the show, is arguably her best in the superb way she blends a wonderful ghost story about a female teacher who had been murdered by a student with whom she had been having an affair, with Buffy's feelings about her relationship with Angel. Although the scene between the dead lovers is played out twice earlier in the episode, the force and power when the two ghosts reenact the scene near the end is almost overwhelming in its power, not least because the ghost of the murdering male enters Buffy, and Angel speaks the lines of the school teacher. When it was filmed, an actress I have always loved but have too rarely seen, Meredith Salinger, plays the schoolteacher. I'm baffled why she hasn't been in more roles in her career.

"Go Fish" is not an episode that I like very much. It doesn't do much in carrying forward the story arc, though it was probably helpful to have a tiny bit of a break before the emotionally overwhelming end to the season. The episode provides a few laughs at the expense of Xander, but I just couldn't get into the story of a high school coach who biochemically alters his swimmers to enhance their performance.

Joss Whedon saved the final two episodes of the season, "Becoming," for himself. I am not sure that anyone not named Joss Whedon has ever written two better scripts for a television series than these, and in non-series perhaps only Rod Serling. Whedon is like a juggler with eight or nine balls in the air at once while riding about on a unicycle. The balance between all the elements in these two shows, as Angelus gradually brings the crisis to a head, Kendra returns to Sunnydale and is killed by Druscilla, and Buffy is separated from all her friends and mother is nothing short of astonishing. Every few seconds in the show brings forth some gem, either a new shock (like Kendra dying or Joyce learning that her daughter is the slayer) or line (as when Joyce asks "Have you ever tried not being the Slayer?") or comic moment (such as Joyce and Spike sitting silently in the Summers's living room, and her asking whether they had met before) or jolt (such as Angel recovering his soul only to have Buffy kill him a few seconds later) or even introducing a new character (the extraordinary and mysterious Whistler, who tragically did not become an occasional visitor on the show, but who at least managed some utterly memorable lines), all of it culminating in that one heartbreakingly awful moment when Buffy finishes kissing Angel, and whispers to him, "Close your eyes." For me this remains the two most emotionally devastating hours in the history of television.

At the end of the first season, BUFFY THE VAMPIRE SLAYER had established itself as an absolutely first rate, funny, and exceedingly hip show, but one wouldn't after the first twelve episodes have been able to describe it as truly great. But Season Two changed that. Buffy became a genuinely great show this season, one of the high-water marks in the history of the medium. And the foundation for that was the writing. It isn't an accident that the scripts of this show are being reproduced: it is a demonstration of what truly great writing grounded the whole show.

"Buffy the Vampire Slayer: Script Book, Season Two, Volume 4" finally provides in print Joss Whedon's scripts for the two part of "Becoming." It was the second season of "Buffy the Vampire Slayer" that established the show as being operatic television, in which case "Becoming" is the grand aria in which Whedon hits the highest note on the scale. "Becoming, Part 2," in which Buffy has to kill Angel and send him to a demon dimension to save the world, is still one of the ten best television episodes I have ever seen in my life. Having a copy of the script in my hands puts the final touches on my enjoyment of these episodes, not because it is a question of finding differences between what is in the final shooting script and what got aired on television, but simply because I finally get to see Whedon's stage directions. For example, after Joyce has learned Buffy is a vampire slayer there is a scene in Buffy's living room. There is no dialogue, just the shot, which is described as follows: Joyce sits in the living room with Spike. They both are silent and uncomfortable, like it's Sunday and he's come a 'courtin'. Joyce has a glass of bourbon in her hands, which shakes only slightly.

For such small gems of insight into the mind of Joss Whedon picking up this collection of scripts is going to be worthwhile for "BtVS" fans. Completing the Angelus story arc that covered the second half of Season Two begun in Volume 3, you will find in Volume 4 "Killed by Death," "I Only Have Eyes for You," "Go Fish," "Becoming, Part One," and "Becoming, Part Two." Actually, I enjoyed "Go Fish" a lot more being able to read the inside jokes, production notes, and cut dialogue than I did actually watching that rather [weak] episode. Overall I think it was a good move to have divide the scripts for Season Two this way, so that the first two volumes do the Spike-Dru story arc and the last two the Angelus story arc. I was going to point out that all six of the episodes for the "BtVS" Season Two video tape set are from this latter arc, but now that we are in the world of "Buffy the Vampire Slayer" on DVD this is no longer a concern.

This book was great! You're always hearing about what happened during the high school years, but never what happened after the graduation. You never hear about the intense plots, the funnies, the occasional tears. Not until this book anyway. It was great, and I loved it. The movie was pretty good too.

This book is really great and it really explains the movie and the characters in the movie. If you haven't seen the movie, it was great! And even if you have seen the movie you should read this book.

This book is really good as a novelization, and also contains things not found in the movie. I really recommend it to anyone that's seen Can't Hardly Wait

It was overall a okay book. It was somewhat funny. But if you have seen the movie can't hardly wait don't buy the book it is word for word the same

Though he comes across a lot meaner in this book when contrasted with the movie starring Al Pacino, Carlito remained a very strong, and even sympathetic character for me. I can only think of a few characters-- fictional or real-- who have won me over, despite their considerable flaws: Humbert Humbert in Lolita, Neil (Robert De Niro) in Heat, Tuco from The Good, The Bad and The Ugly, and Henry Hill from Goodfellas.

The first person prose was very readable and believable. It also displays wit and humor that doesn't take away from its grittiness. All in all, I would strongly recommend this book. I am hoping there will be a re-release of the follow up book, After Hours.

Like many, I was first introduced to this book when I saw the popular movie starring Al Pacino, Sean Penn, and Penelope Anne Miller. I received the book as a Christmas present, that particular paperback being a movie tie-in reprint with Al Pacino (Carlito) on the cover. I think I gave away the book to the library when I moved a couple of years ago. Film Ink's edition, showcasing a typical street in an ethnic neighborhood, impressed me. I've always been fascinated by some of the provocative photography on book covers these days.

The saga of Carlito Brigante's life (in essence the film Carlito's Way) is actually chronicled in two books, the first titled Carlito's Way, wherein Carlito in 1st person narrative describes his rough-and-tumble childhood and induction into New York's ruthless criminal world, culminating in Carlito's arrest, conviction, and sentence of thirty years in Riker's Island. Yet no one can accuse Brigante of being simply a heartless killer. We get to sympathize with his plight; he is undoubtedly the hero of Torres' tale.

The next installment, titled After Hours (written in 3rd person this time), is actually the setting of the movie, beginning when David Kleinfeld, Carlito's Alan Dershowitzesque attorney, gets Carlito out of prison on a technicality. The David Kleinfeld character is another reason to read this book after seeing the movie, as things in the book turn out quite differently for most of the characters affected by Kleinfeld's machinations. There's also some additional fleshing out of characters and episodes not included in the movie, including Brigante's trip to Spain, where the brash hombre shows off his bullfighting skills. I'm not giving anything away.

Like the Shawshank Redemption, the movie also highlights the profound changes in American everyday life and culture (and with it the criminal world) during the twentieth century. The two books trace Carlito Brigante's criminal career, from the swinging and colorful 1940s, when Carlito existed on small-time armed robberies and switchblades, all the way to the sleazy lava-lamp lit cocaine infested 1970s, an appropriate prelude of the Me Decade. Central to the story is the role New York's Italian Mafia plays in the life of Brigante. Brigante, a Puerto Rican, is eventually admitted to their exclusive innermost circles, but because he is not a Sicilian is never elevated to the status of a "Made Guy," which ultimately leads to his downfall. Via subplots and secondary characters Torres notes the rise and fall of the Cosa Nostra's influence in the Big Apple.

I thought that Miller brought a lot to the somewhat hapless role of Gail, Carlito's longtime love-interest and confidant. I found it much more believable that Carlito's girlfriend would be a stripper and aspiring dancer. In the book her character is an elementary school teacher, which makes the idea of Carlito persuading her to go to the Bahamas a bit implausible.

In an interview contemporaneous with the film's release, Torres said that his novels were inspired by his exposure to countless Carlito Brigantes who had walked through his courtroom throughout his career on the bench. Torres also includes a vocabulary of Hispanic street slang and underworld terms.

An extremely capable writer of prose, Torres pens a stimulating, readable, and believable portrait of life in the Barrio. Barrio is Spanish for jungle, in this context the urban jungle-ghetto that wickedly and unknowingly nurtures the self-destructive psyche of a career criminal who knows nothing but a life of violence and self-preservation.

Splendid!

If you like crime stories don't miss this one. This is one of my all-time favorites and it never really got the attention it deserves. The story of Carlito Brigante shows us the world of crime from a different angle than the classic Mafia tales. Carlito is Puerto Rican and comes up in the New York of the fifties and sixties. He's a hard-core criminal, hard-nose, and he makes no bones about it. He starts of with breaking-and-entering, moves up to racketeering, and after a long impatient wait breaking into the big-time--heroin trafficking.

Yet Carlito never comes across as a merely evil person. Living in America, where the streets are paved with gold except in the barrio where he spent his entire life, Carlito says that no way was he going to spend his whole life washing dishes when there was big bread out there for guys with the guts (he would use a different word) to go get it.

Torres, to his credit, never romanticizes Carlito to the point that he comes across as a good guy, either. Carlito follows his way because its the one HE chose, and if that means dancing with a fine lady at the Palladium one night and then going into Lewisburg Penitentary for a 3-year stretch the next, that's how it goes. Those are the risks and rewards of the life he leads. He meets characters like smooth guy Earl Bassey, crazy guy Nacho Reyes, wise guy Rocco Fabrieze, and bad guy Pete Amadeo. All in all, "Carlito's Way" is a wild ride, both the ups and downs.

I really recommend that you get the audio version of this book and listen to Torres read his book. The movie "Carlito's Way" actually focuses on the second book Torres wrote, titled "After Hours." It's good, but the first novel is told in the 1st person, in Carlito's voice, and Torres is fantastic as he speaks in Carlito's voice. Well worth a listen.

For fans of streetlife and "the real" in general, this is a fantastic read. Having seen the movie, I wasn't quite expecting the book to be what it was - a running mental monologue recounting the life and times of Carlito Brigante, the fictional yet prolific gangster the film was based upon.

Having grown up in Brooklyn, I was thoroughly impressed by the accuracy with which Torres illustrates the "I've got mine, so .... you" thug mentality that's so much a part of the underground New York experience. That, combined with the "Code Of The Streets" and a tiny dab of conscience, is what makes Carlito seem human and uncannily real-to-life.

Torres, being a NYC criminal court judge, has chosen to expound his abundant understanding of the criminal mind not through textbooks or bland case studies, but through this brilliant character depiction. I place it in the same category as "Down These Mean Streets" - a modern urban classic.

Perry mason is in the middle of a plot that is so skillfully planned that even he is baffled. The only clue that helps him solve is a careless kitten. What did the kitten do to help mason solve a case where every suspect seems to have an air tight alibi! The desire to find out what happens next kept me turning pages. So, watch out for the answers & learn a little bit of cat psychology!

In 1942 California Helen Kendal receives a phone call. The strange voice identifies himself as her long-lost Uncle Franklin Shore, and tells her secrets to verify his identity. Helen is to contact Perry Mason, bring him to a hotel, and ask for Henry Leech. Helen lives with her Aunt Matilda Shore, whose husband ran off ten years earlier. But her kitten takes sick, and is rushed to the vet (a mysterious poisoning). Later she meets Perry Mason and goes to the hotel. A message redirects them to a place in the hills; when they arrive there they find a dead body in an automobile, and call the police. It is not the uncle; his death would leave a large sum to Helen. Helen returns home alone, as her aunt was taken to the hospital. When she and her boyfriend hear a noise, they investigate. Shots ring out, and her boyfriend is hit. Perry is notified.

When Perry and Della visit the Shore residence, Perry is taken inside where the police ask him to produce the long missing Franklin B. Shore. Della finds Tom Lunk, the gardener, and drives away with him. Lunk tells Perry that Franklin visited his home earlier to spend the night. But they find Franklin has disappeared again. Perry wants Lunk to hide in a hotel, and Della takes him there. But the police find out, and arrest Della for hiding Franklin! Della escapes conviction for hiding Franklin, a material witness, because of the actions of the kitten at Lunk's shack! Lunk can't appear again as a witness because he is killed in a hit-and-run accident. But this results in solving the three murders. The clue again is eye-witness testimony that can't be corroborated. This story shows the variety of events and surprises that will mark future novels.

There is one warning in Chapter 20. Prosecutors have campaigned to sweep away constitutional guarantees, supposedly to fight professional criminals. But the end result was to stack the cards against ordinary citizens because the whole legal procedure has been completely undermined. Can you trust government to see that no known innocent person is ever prosecuted? The prosecution of Della Street provides an answer. Della will be found guilty unless she can prove her innocence! [Was this a veiled criticism of witch hunts?]

It is an interesting case, where Perry Mason defends his secretary, charged with hiding a material witness. As usual, the plot is well developed and the court room drama is highly interesting. A very good novel.

D.A. Hamilton Burger is out for blood this time. While investigating the return of a man missing for ten years, Mason sends Della Street out to interview the man before the police get there. What happens? When the man can't be found by the police, Della is charged with spiriting away a material witness. Burger plans to convict her, then try Mason as an accessory, convict him, then institute disbarrment proceedings against him. This will end Mason's career of legal dramatics and "outwitting the police".

Mason doesn't care anything about a murdered man, a wounded man, or the missing man who is the prime suspect - all he cares about is aquitting Della Street. And since Burger made it personal, Mason refuses to give the true solution to him during or after the trial. After all, if he did so, he'd be "outwitting the police" once again...