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The Ultra Trek Sharpener is a 3 3/4 in. 600-Grit diamond coated oval sharpening shaft with a black aluminum handle. The Ultra-Trek sharpener has an overall length of 9 1/2 in.ATTRIBUTES Material: Diamond Size: 3 in. Type: Pocket

The Duro-Med folding black shopping bag with wheels is ideal for carrying groceries or laundry and is lightweight and easy to maneuver. Convenient to take everywhere it folds to a pocketbook size of 12" x 7". The adjustable straps makes it easy for anyone to use, and has a hook and loop closure at the top of the bag for easy access. The bag measures 12" x 22.5" x 7" and is made of durable heavy gauge, water-repellent black vinyl. The bag includes a front pocket with zipper for secure storage.

Pant,baggy,solid blk,med 389911

It's fitting that the Kid Rock revival got started when the Beastie Boys featured him in their Grand Royal magazine--and not because the kid from Detroit shares their skin tone. Rock has often been compared with the early Beasties--the boys of "Fight for Your Right to Party" and "Brass Monkey," the boys no one ever thought would grow up. With lines like "I ain't straight outta Compton, I'm straight out the trailer" and "I started an escort service--for all the right reasons," it's obvious that Kid Rock doesn't aim to follow suit. But that's no hindrance to Devil--backed by the funky metal band Twisted Brown Trucker and special guests like blues vets Robert Bradley and Thronetta Davis, Rock is hosting one hell of an interesting party. Ultimately, Rock's party is great, schlocky fun, equal parts old Beasties and Sebastian Bach--making Devil a guilty pleasure, the Starship Troopers of hip-hop. --Randy Silver

No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: PARelease Date: 18-AUG-1998

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Barney, BJ, and Baby Bop invite young viewers to accompany them as they visit the Fort Worth Zoo in this 50-minute, never-televised Barney show. Unlike the typical televised episode, this installment is shot completely on location. Absent is the core group of children who interact with Barney--instead, Barney focuses on BJ, Baby Bop, and his young viewers. BJ attempts to chronicle their journey through the zoo with his camera, Baby Bop embarks on a quest to introduce her stuffed elephant Nellie to a real elephant, and Scooter McNutty tries desperately to locate the squirrel exhibit. Barney provides key information about animals like Mandle monkeys, zebras, and flamingos while posing many questions and challenges that invite viewer interaction. Also included is footage of real children discussing and imitating a variety of animals. Eleven fun songs accompany Barney's expedition including "What Will We See at the Zoo," "Rock Like a Monkey," and "Everybody Needs a Nap." The Fort Worth Zoo proves to be a wonderful setting for this innovative Barney episode and the animal photography is close-up and excellent. (Ages 2 to 6) --Tami Horiuchi

Standard; Soundtrack: English.

The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. --Doug Thomas

Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley find his world disrupted. Plot Synopsis: James P. Sullivan (AKA "Sulley") and Mike Wazowski pick up their paychecks at Monsters Inc., the utility company that generates energy from the goose bumps of children. Sulley, the No. 1 scream-generator at the plant accidentally lets in a little girl into the monster world. Since monsters are actually terrified of children it's a major cause for alarm and a major headache for Sulley and Mike.

Rock Hudson and Jane Wyman were so successful in Douglas Sirk's Magnificent Obsession that they reteamed for this, his first melodrama masterpiece. Young hunk Rock is a strapping son of mother nature, a gardener who woos middle-aged, middle class widow Wyman to the snooty disapproval of her conservative social circle and embarrassment of her self-centered children. Wyman discovers a new life with his open-armed friends and back-to-nature lifestyle, but struggles with life-changing decisions in the face of social pressure and vicious gossip. Living the Henry Thoreau dream, Rock inhabits his personal Walden in a rustic country cabin by a bubbling brook, a dream house lit by a giant picture window overlooking an idyllic countryside where deer pose just outside the window. Wyman's elegant but sterile suburban home transforms into a tomb when she sacrifices her love for the "good name" of her children, and the lonely widow sees her future in the pale, colorless reflection of her TV screen. But don't despair just yet: Sirk's heroines are dynamic and resourceful and no Sirk melodrama ends without a heart-tugging, over-the-top twist. German director Rainer Werner Fassbinder, who championed Sirk as a master and a mentor, remade the film as Ali: Fear Eats the Soul decades later. --Sean Axmaker

There is, according to Burlesque, a nightclub on the Sunset Strip that looks like a blend of Cabaret and Moulin Rouge and employs a full contingent of dancers and musicians in the service of a neo-retro-burlesque-blues program. Presiding over the craziness within is Tess, a grande dame who also performs occasionally and who could only, under these circumstances, be played by Cher. Entering the scene is a young leather-lunged hopeful from Iowa named Ali, played by Christina Aguilera in her movie-acting debut. The vibe of this glitzy concoction is more Flashdance than Showgirls, despite prerelease predictions that the film would be a campfest of epic proportions. In fact, it's more cornball than trashy. Ali hits most of the clichés of the genre: defying Tess's skepticism by proving her mettle during an impromptu stage number; flirting with the nice-guy bartender (Cam Gigandet, of Twilight) whose home she shares for a while, in a purely platonic way, of course, just until she gets her feet on the ground; and keeping a wary eye on the high roller (Eric Dane, of Grey's Anatomy) who wants to possess her, because, you see, he takes whatever he likes. And did we mention that Tess is facing foreclosure on the club in a month's time? Seriously, you didn't see that coming? Writer-director Steve Antin has no embarrassment about putting any of this across, which may be why it all feels weirdly innocent, if relentlessly silly. Stanley Tucci revives his gay assistant from The Devil Wears Prada, Alan Cumming lurks about in an undefined role that might well have been filmed months after everybody else, and Kristen Bell enjoys a few wicked-witch moments as Ali's main rival. Aguilera, needless to say, belts out her songs as only someone with a very large voice can, and Cher stops the show with an old-fashioned torch song ("You Haven't Seen the Last of Me") that is clearly designed as a roof-raiser. (And, by gum, it works.) This is a ridiculous movie, but it gets points for never claiming to be anything else. --Robert Horton

In this saucy showbiz fable, pop star-turned-thespian Christina Aguilera plays Ali, an Iowa girl waiting tables at a struggling Los Angeles burlesque lounge run by Tess (Cher), a former dancer who sees a chance to restore the establishment's glory days by making Ali its newest star. The plan rubs the club's current diva (Kristen Bell) the wrong way, while other complications threaten future opening nights. With Peter Gallagher, Alan Cumming, and Stanley Tucci. 119 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, DVS Dolby Digital 5.1, French Dolby Digital 5.1; Subtitles: English (SDH), French, Spanish; audio commentary; alternate opening; bloopers; bonus footage.

When a television series opens its new season with a lead character crawling out of his grave after escaping Hell itself, one cannot help but wonder: how will the rest of the episodes ever follow that? In the case of Supernatural's fourth season, the answer comes from above with the introduction of Misha Collins's Castiel, an angel dispatched to rescue Dean Winchester (Jensen Ackles) from infernal torment and reunite him with brother Sam (Jared Padalecki) for a very special mission. That quest--to stop the demonic Lilith from opening the 66 seals required to bring Lucifer to Earth and launch the Apocalypse--forms the backbone of the 22 episodes, which takes some fairly adventurous risks with the core of the show. Chief among these is the rift that deepens between Dean and Sam as they attempt to work together, despite their divergent destinies; also agreeable is the season's tonal shift away from its previous Monster of the Week format (though that's still intact for many episodes) and toward a single, more ambitious story and thematic arc. The sea change deepens the show's drama, intensifies the level of suspense and stakes in each episode, and pushes it several big steps away from its teen-friendly origins. Of course, there's still plenty of the show's trademark irreverence and humor to be found, especially in the clever "Monster Movie," which pits the brothers against a Shapeshifter that takes the form of classic movie fiends, and "The Monster at the End of This Book," where Sam and Dean discover a comic book with plot lines very similar to their own lives. By the time Supernatural's fourth season reaches its cliffhanger ending with "Lucifer Rising" (the title neatly sums up the plot), viewers should be fairly hungering for the next episode--a good sign that a veteran series is still hitting its stride. Extras on the six-disc set include commentary for three episodes: "In the Beginning," with executive producer Eric Kripke and writer Jeremy Carver; "When the Levee Breaks," with director Robert Singer and writer Sara Gamble; and "Lucifer Rising" with Kripke. Extended scenes are also available for several episodes, and the features are rounded out by a trio of somewhat ponderous featurettes on the concepts of Heaven, Purgatory, and Hell, as depicted in scenes from the show and discussed by its writers, theologians, paranormal investigators, and the like. Clocking in between 10 and 25 minutes apiece, the docs feel padded and somewhat undernourished in the information department. However, they're unlikely to detract from one's enjoyment of this stellar season. --Paul Gaita

All 22 episodes from season four--including "Lazarus Rising," "Monster Movie," "After School Special," "Jump the Shark," and "Lucifer Rising"--are featured in a six-disc set. 15 3/4 hrs. total. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, Portuguese Dolby Digital stereo; Subtitles: English (SDH), Chinese, Spanish, Portuguese, Thai, French; audio commentary; featurettes; extended scenes; deleted scenes; gag reel. **22 episodes on 6 discs. 15 3/4 hrs.**

Stills from Mad Men (click for larger image)

All 13 first-season episodes--including "Smoke Gets in Your Eyes," "New Amsterdam," "Babylon," "Shoot," and "The Wheel"--have been collected in a three-disc set. 10 1/4 hrs. total. Widescreen (Enhanced); Soundtrack: English DTS HD 5.1; Subtitles: English, Spanish; audio commentary; featurettes; photo gallery; more. **13 eps/3 discs. 10 1/4 hrs.**

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