Sitcom director Tia Morales is used to calling the shots and having everything securely in her control--that is, until a handsome cameraman turns both her heart and her life upside-down.

Believer and unbeliever alike are subtly evangelized every day of their lives by the ambient glow of God’s cinematic masterpiece. They sense something grand but are confused by the incoherent cultural edits scattered throughout the film. The Good News is that the deleted scenes are not lost but can be found in our shared human experiences, and once spliced back together reveal an epic of Biblical proportions, The Director’s Cut of the Greatest Story Ever Told. Dr. Erik Strandness takes a unique “bottom up” approach to apologetics by investigating experiences common to all people and concluding that they can only be adequately understood through a Biblical filter. The goal is to empower lay Christians to confidently share their faith in a concrete, friendly, real-world context that effectively engages the day-to-day realities of their audience. Dr. Strandness writes in a clear, engaging, and witty style, combining the thoughts of many great Christian thinkers with culturally relevant illustrations in order to make a solid real world case for the Christian worldview. “Once in a while, someone manages to put ageless truth in such a fresh package that it cries out, ‘Read on!’ That’s the way I felt when reviewing Erik Strandness’s book. What a pleasure it is to read! But it’s not just Erik’s engaging word images that make it such a great read. It’s the profound and timely message he is communicating in such an intelligent and winsome way. This is a book you will be telling others about.” —Dr. Christian Overman, Director, Worldview Matters, biblicalworldview.com

Based on a true story, Arthur Japin’s new novel is a tale of consuming love and artistic creation that reimagines the last romance of the legendary filmmaker Federico Fellini. In Director’s Cut we enter the mind of Snaporaz, the lion of Italian cinema, as he slips into a coma in his final days. Having always drawn inspiration from the world of his dreams, he welcomes the chance to take account of his life and, in particular, his most recent love affair, with a beautiful but tempestuous young actress called Gala. Here is the story as Snaporaz tells it. Lured by the glamour of Rome, Gala and her boyfriend, Maxim, an actor as well, are hoping to be discovered when they manage the impossible: entrée to the studio of the great master. Despite an age difference of four decades, Gala soon becomes Snaporaz’s mistress, leaving Maxim, guardian of her secrets and her fragile health, to be an anxious and helpless observer of her physical and spiritual decline. As Gala becomes increasingly dependent on Snaporaz’s attentions, her desperation never to disappoint him leads her down a reckless path to anorexia and prostitution before the one true bond in her life is restored. Snaporaz’s intoxicatingly baroque—Felliniesque—account of the affair slyly challenges us again and again to ask what is dream and what is reality, and to conclude that the difference is irrelevant when such a genius immerses himself in his most natural element: the imagination. A dazzling tale from one of Europe’s most celebrated writers.

With six decades in show business, legendary director Ted Kotcheff looks back on his life Born to immigrant parents and raised in the slums of Toronto during the Depression, Ted Kotcheff learned storytelling on the streets before taking a stagehand job at CBC Television. Discovering his skills with actors and production, Kotcheff went on to direct some of the greatest films of the freewheeling 1970s, including The Apprenticeship of Duddy Kravitz, Wake in Fright, and North Dallas Forty. After directing the 1980s blockbusters First Blood and Weekend at Bernie’s, Kotcheff helped produce the groundbreaking TV show Law & Order: Special Victims Unit. During his career, he was declared a Communist by the U.S. government, banned from the Royal Albert Hall in London, and coped with assassination threats on one of his lead actors. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 16.0px Times; -webkit-text-stroke: #000000} span.s1 {font-kerning: none} With his seminal films enjoying a critical renaissance, including praise from Martin Scorsese and Nick Cave, Kotcheff now turns the lens on himself. Witty and fearless, Director’s Cut is not just a memoir, but also a close-up on life and craft, with stories of his long friendship with Mordecai Richler and working with stars like Sylvester Stallone, James Mason, Gregory Peck, Ingmar Bergman, Gene Hackman, Jane Fonda, and Richard Dreyfuss, as well as advice on how to survive the slings and arrows of Hollywood.

Solway argues in this feisty and polemical book that the time has arrived to take stock and engage passionately with our literature, and especially our poetry, if it is ever to be rescued from the swamp of second-ratedness into which it has descended. He contends that almost all of the poetry (and much of the fiction) being written in Canada these days is turgid, spurious and pedestrian, the result of two highly questionable developments: the proliferation of Creative Writing departments in universities throughout the country, and a largely subsidized literature industry, abetted by a press of cousinly critics and reviewers, intended to construct a patchwork national psyche, create a sense of ideological cohesion and glorify the tribe. In consequence of this we have sponsored a coterie of underachieving overproducers and proceeded to collude in their diffusion by virtue of our silent complicity or our chauvinism. Solway believes that we are on the whole far too nice, far too politically correct and, in a word, far too `Canadian', to register our disapproval bluntly and agonistically. The last thing we want to do is offend anyone. But all that such manoeuvres ensure is that nothing changes while conscience is appeased. There comes a time when diffidence and affability, those specifically Canadian virtues, work against our best interests and prevent the candid and occasionally brutal assessments without which the critical stupor and aesthetic fog so congenial to us must remain destructively in place. In Director's Cut,Solway attempts to dispel that fog, to see clearly and to speak directly to a readership that has been far too receptive of questionable work.

"I wanted a job. I got a murder."When makeup artist Toby Swanson joined the Fox Film Corporation in 1914, he hoped to sneak a kiss from the studio's newest star, the seductive vamp Theda Bara. But when a scene goes horribly wrong, Bara's film is canceled and her dreams of stardom crushed. Unless she can prove what looked like an accident was really murder.So together, Theda and Toby dive into showbiz New York, from dancing with a young Rudolph Valentino to sharing the vaudeville stage with Sophie Tucker and learning lockpicking secrets from Harry Houdini, all leading to a long-forgotten church crypt holding a desperate secret.It's New York at the dawn of the twentieth century, a time of big bridges, big skyscrapers and big money. And it's a time when movies - the biggest new business of them all - joins hands with the oldest.The Director's Cut is the first of the Theda Bara Mysteries.

Witness two master creators at the height of their powers as THE ANALOG MAN returns...in bare-knuckled black and white! For the first time ever, go behind the scenes and discover the unexpurgated glory of Jeff Lemire and Lewis LaRosa?s post-apocalyptic joyride through the future-shocked badlands of the Valiant Universe with a special 48-page ?director?s cut? of BLOODSHOT REBORN #10, showcasing LaRosa?s raw, hyper-detailed pencil artwork and Lemire?s complete script! Stripped down to pencils and letters alone, you?ve never seen Bloodshot like this before as the must-read storyline of the New Year circles back for an encore presentation of THE ANALOG MAN?s gasoline-soaked first chapter!

This summer?sail back to BLOODSHOT ISLAND for a pulse-pounding director?s cut presenting Jeff Lemire and Mico Suayan?s action-packed masterwork in pristine black and white! Get up close and personal with the fearless Bloodshot epic of the summer with this 48-page special, stripping down BLOODSHOT REBORN #14 to pencils, inks, and letters alone! Spotlighting Mico Suayan?s brutally immaculate pencil artwork alongside Lemire?s complete script, Valiant?s next essential Director?s Cut must be seen to be believed! Experience BLOODSHOT ISLAND in the purest form possible right here with an all-access presentation of the savage first issue featuring the first appearance of the character that has everyone talking: DEATHMATE!

Daring resort manager Elizabeth Grady will need to think fast to bring a killer into the limelight in this charming 1950s set cozy mystery series. Famous director Elias Theropodous has chosen Haggerman’s Catskills Resort as a shooting location for his next film. It sounds glamorous to much of the staff, but resort manager Elizabeth Grady is less satisfied. Dealing with the ridiculous demands of the antagonistic director is bad enough, and his attempts to walk all over Elizabeth are making her feel like her position at the resort has been changed into a bit part. But when Elias is poisoned during a dinner at the resort, the future of the film and the resort itself are on the line. Between an aging movie star, a harried producer, and former victims of the deceased director’s wrath, Elizabeth has a full cast of suspects to examine, and she’ll need to investigate every lead to catch a killer.

Revisit the start to Shredder's journey in the afterlife with a special Director's Cut! Featuring the jaw-dropping inks of Mateus Santolouco as well as annotations and behind-the-scenes development artwork!