Product Description
Mofi’s stylish elegant designs have been very popular in the Asian market for over two years, yet little is known about these premium high end cases in the UK. The plush materials are full of luxurious touches and the build quality is second to none, words and pictures alone can not do these cases justice. The whole experience of owning and using a Mofi case is a real treat for the senses. The thick padded design also ensures that the case offers the best shock protection in the market place

• Samsung Wave S8500 “SUPER CASE” Black Designer Carry Protector Pouch
• Superior Padded Shock Protection & comes in Fashionable Vibrant colours
• Automatically cleans your phone or MP3 Player
• Highest Quality Velour Micro Fibre

Samsung Wave S8500 “SUPER CASE” Black Designer Carry Protector Pouch

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Product Description
Danish Edition, PAL/Region 2 DVD: Subtitles: Danish, Finnish, Norwegian, Swedish, English, Dutch, French, Spanish. s ultra-bizarre, ultra-low-budget cult flick for adults (written by underground maverick George Kuchar) is most definitely not for all tastes. While it starts out as an atmospheric gothic horror tale, it quickly turns into a raunchy, graphic, blackly comedic sex-fest, as polymorphically perverse Gertie (Eaton) gets off by watching her houseguests explore a room full of naughty toys. Sexual encounters then continue in full force, as various partners of both genders hook up. If none of this sounds appealing (chances are it won’t to most viewers), you’ll find that Eaton, with her hopelessly skewed eyebrows, is by far the best aspect of the film – her performance is so sincerely melodramatic that one almost begins to root for her, despite her clear mental imbalance. There’s an entire website devoted to the (supposedly) imminent ‘special edition’ DVD release of this film, which until now has only been available as a bootleg;

Thundercrack!

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Amazon.co.uk Review
I Spit on Your Grave, writer-director Meir Zarchi’s controversial story of rape and revenge, has lost none of its ability to shock viewers since it first gained notoriety in 1978. Camille Keaton (grand-niece of Buster Keaton and, later, Zarchi’s wife) stars as a young woman who is terrorised and then brutally assaulted by four men while on vacation. After slowly pulling herself together, she methodically tracks down and butchers each of the perpetrators. Zarchi’s film has been consistently accused of celebrating violence against women, and while the rape scenes are graphic, they also lack the voyeuristic qualities that earmark other similarly plotted exploitation films. If anything, Zarchi is guilty of awkward scripting; the dialogue is leaden, and Keaton’s transformation from victim to avenger is too swift. But to label him a pornographer is wrong, and while the film is challenging–perhaps more than most audiences can bear–its depiction of the psychology of violence is undeniably powerful. –Paul Gaita

I Spit On Your Grave

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Amazon.co.uk Review
While other films directed by Nicolas Roeg have attained similar cult status (including Walkabout and Don’t Look Now), none has been as hotly debated as this languid but oddly fascinating adaptation of the science fiction novel by Walter Tevis. In The Man Who Fell to Earth, David Bowie plays the alien of the title, who arrives on Earth with hopes of finding a way to save his own planet from turning into an arid wasteland. He funds this effort by capitalising on several highly lucrative inventions, and in so doing becomes the powerful leader of an international corporate conglomerate. But his success has negative consequences as well–his contact with Earth has a disintegrating effect that sends him into a tailspin of disorientation and metaphysical despair. The sexual attention of a cheerful young woman (Candy Clark) doesn’t do much to change his outlook, and his introduction to liquor proves even more devastating, until, finally, it looks as though his visit to Earth may be a permanent one. The Man Who Fell to Earth is definitely not for every taste–it’s a highly contemplative, primarily visual experience that Roeg directs as an abstract treatise on (among other things) the alienating effects of an over-commercialised society. Stimulating and hypnotic or frightfully dull, depending on your receptivity to its loosely knit ideas, it’s at least in part about not belonging, about being disconnected from the world–about being a stranger in a strange land when there’s really no place like home. –Jeff Shannon.

The Man Who Fell to Earth

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