CD Pro Snap-Fit Tray

Our snap-fit trays welcome a new addition to the family. Introducing our CD Pro Snap-Fit trays. All of the same great features as our DVD Pro Snap-Fit trays but made to be used with our CD Pro, Classic, Data and DVD2 sleeves. Trays are expandable from 6″ to infinity.

Visit our products page to learn more about these trays and to start organizing your collection!

3-drawer media case

For any of you who have been looking for a media storage solution for your large CD or DVD collection, or an ever-growing one, do we have a deal for you! Due to quality issues beyond our control we received an order for 3-Drawer Media Cases that we prefer not to sell at full retail price, therefore we are passing on these incredible savings to you. This is the best value for a product we have ever offered in all of our years in business so don’t hesitate – take advantage NOW!

One of the best features of these 3-Drawer cases is that they’re stackable so once one case is full, adding another is easy.

• Made from PVC coated plywood – coating is non-slip and scratch resistant
• Black fabric lining (flocked velvet) protects contents and prevents sleeves from sliding
• Full extension drawers
• All drawers can be locked and have a separate key
• Works great with removable Universal Angled Back Wedges
• Available in two sizes:
  25 1/4″ x 17″ x 10 1/8″ (w x d x h) for DVDs
  22 1/4″ x 15″ x 9″ (w x d x h) for CDs

DiscSox® Media Case 3-Drawer – DVD Reg. Price: $149.95
CLEARANCE PRICE $39.99

DiscSox® Media Case 3-Drawer – CD Reg. Price: $129.95
CLEARANCE PRICE $34.99

Cases may have one or a combination of imperfections, click here for details

***ALL CLEARANCE MEDIA CASE SALES ARE FINAL***
***NO RETURNS OR EXCHANGES***

The film is the latest collaboration between Scorsese and Leonardo DiCaprio. It follows the story of Federal Marshal Teddy Daniels (DiCaprio), as he and his partner Chuck (Mark Ruffalo) attempt to unravel a mystery surrounding the disappearance of an inmate on Shutter Island, an isolated institution for the criminally insane. As Teddy and Chuck navigate the prison grounds and interview both staff and inmates, it becomes evident that Teddy’s screws are slowly coming loose. Visions of past traumas from his time as a soldier in WWII and of his late wife Dolores (Michelle Williams) haunt him throughout the investigation.

As these hallucinations build, so does the dramatic tension between Teddy and his surroundings. Sinister vibes are everywhere, from partner Chuck, to the prisons head doctor, Dr. Cawley (Ben Kingsley), to the island itself. What is real? What’s in Teddy’s head? Who has good intentions? Who’s just plain crazy?

In lesser hands, these questions would be too obviously asked or answered. Scorsese however, brings his experienced eye to every scene. No glare or smirk is void of some disguised intent. One of the most notable examples is early on in the film. Teddy is introduced to one of Dr. Cawley’s associates (Max von Sydow) sitting in a menacing wingback chair beside a roaring fire. The combination of sharp wordplay between Teddy and the other Dr., the distorted camera levels Scorsese uses for each characters exchange, and Sydow’s eerie antagonism vs. DiCaprio’s quick fuse, produce a very well orchestrated scene.

It’s because of this skill and thoughtfulness that is put into each piece of the film that makes it difficult to fault any one area entirely. The script is a competent adaptation (of a Dennis Lehane novel), the performances are well balanced, and the direction isn’t without purpose. But unlike so many of Scorsese’s other films, this one leaves you somewhat empty. It has twists that don’t intrigue, complex characters that you’re not invested in, and an environment that is at once both ominous and somewhat dull. I appreciated the care put into the movie, but didn’t really care about where it was going. It was like watching a tract home be built out of imported marble.

Ultimately, the most entertaining movies are those that use the art of film-making to an unmistakable affect on an audience. A director presents their intent, and the audience is impacted by it, for better or worse. Shutter Island is in an odd category. It’s 138 minutes of meticulous intent, and we’re left feeling neither better nor worse for sitting through it.

-Gabe Garagliano

DiscSox Team Member

Thanks,
Peter L.

Thank you!
Jessica L.

PS – Just placed an order for sleeves so I can do all those boxed sets, too.

3-Drawer Media Case - Stacked

After listening to requests from many customers for a stackable media storage solution, DiscSox is excited to announce their new 3-Drawer Media Cases. Available in two sizes for CDs and DVDs each case holds approximately 300 CDs or DVDs in DiscSox sleeves. One of the best features of the cases is that they’re stackable so you only have to buy one at a time as your media collection grows -

3-Drawer Media Case – DVD $149.95
3-Drawer Media Case – CD $129.95

Home and Living welcomes Vanessa O’Connor with MM Design.

Reg: $19.95
Sale: $14.95

save even more with volume discounts!
Sale ends 2/17/10

Check out items up to 50% off on our clearance page.

Avatar is the latest brainchild of James Cameron, the visionary director responsible for the first two Terminators, Aliens, Titanic, and several other impressive, large-scale films. It chronicles the story of an indigenous race, the Na’vi, on a distant planet, (Pandora) who are threatened to be evicted from their homeland by a human led corporation intent on mining Pandora for an extremely valuable mineral. In an attempt to earn the Na’vi’s trust and gain easier access to the planets resources, the corporation places human representatives in the Na’vi’s community in the shape of Avatar’s, remotely controlled Na’vi bodies powered by humans in a semiconscious state. The most promising ambassador to the Na’vi in this effort is Jake, an ex-marine paraplegic who finds a new energy and sense of purpose in his Avatar form.

As things progress, allegiances become muddled, new relationships are formed, and the allegorical tale of corporate greed and the destruction of the environment gets thicker and thicker. The plot grows at a brisk enough pace, but the heavy hand, predictable story shifts and at times distracting dialogue won’t (or at least shouldn’t) win it any awards for originality.

What will make it a contender come awards time are its impressive achievements in the visual and technical departments. Cameron shot Avatar in 3D, and to great effect. Not the schlocky 3D effects that so many movies employ today of throwing things “through” the screen at the audience, or having distracting details flutter around your peripheral vision to remind you how “cool” 3D is. But instead, what could’ve been just a gimmick is employed in such a way that 30 minutes in, you forget you’ve got on some ill-fitting plastic specs. You are, at a point, not just watching the film, but experiencing it.

The detail in which the environments and characters have been rendered convince the viewer that this world has a life of it’s own, removed from the artificial special effects it’s born from. This experiential nature of Avatar is what separates it from other oversized Hollywood budget hogs. It’s not attempting to fool you into thinking Pandora exists, or that the Na’vi are real, but it instead never doubts itself in it’s representation of these otherworldly realities, and depicts them with a beauty and reverence that makes it tough for the audience to over scrutinize their existence.

Ultimately, it’s this achievement that propels Avatar into the “must see” category of movies from this past year. Tired plot devices and distracting self-righteousness aside, Cameron has produced a visually arresting film that uses technology for it’s most noble intent yet; to captivate the audience, and bring a sense of awe back into the movies.

-Gabe Garagliano

DiscSox Team Member