InStyle (1-year)

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InStyle (1-year)

from: The Time Inc. Magazine Company




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Availability: Usually ships in 1 to 3 months

List Price: $51.87
Your Price: $23.88
You Save: $27.99 (54%)
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Average Rating:  out of 5 stars
Sales Rank: 50







Binding: Magazine
First Issue Lead Time: 6-10 weeks
Format: Magazine Subscription
Issues Per Year: 13
Label: The Time Inc. Magazine Company
Magazine Type: Time magazine
Manufacturer: The Time Inc. Magazine Company
Number Of Issues: 13
Publisher: The Time Inc. Magazine Company
Release Date: November 23, 2001
Sales Rank: 50
Studio: The Time Inc. Magazine Company
Subscription Length: 365 days




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Editorial Review:

Product Description:
Create a personal style that's uniquely yours with inspiring ideas from In Style. Discover the best of fashion in every price range and expert beauty advice you can use to create your signature look. Enjoy tips for entertaining with style and intimate looks at your favorite celebrities - their homes, wardrobe, and personal beauty secrets.









Availability: Usually ships in 1 to 3 months


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Customer Reviews
Average Rating:  out of 5 stars

Rating: 5 out of 5 stars - The best fashion magazine out there!
I have tried many a fashion magazine, but InStyle is the best. Every issue is chock-full of ideas, style stories, and beautiful fashion.

They cover the latest trends, but help you integrate the trends into a normal person's every day wardrobe. Some fashion magazines only have pictures of runway type fashion, with no practicality whatsoever. Not InStyle- they make the latest fashion wearable for normal people. They also offer a range of prices in fashion. Although I can't afford a lot of the fashion in magazines, InStyle often offers less expensive alternatives for each of their stories.

Whenever I'm shopping (which is not as often as I'd like, but what else is new in a mother's life?) I have a good idea of what will look good for me in that season. I attribute that to InStyle which keeps me up on the latest fashion while also giving lots of practical tips.



Rating: 4 out of 5 stars - A bit glossy and glammy, but okay for entertaining reading
* There is a lot to see and read in this magazine, well, to read about products, not necessarily articles, but the entire magazine has a very shallow and artificial feeling to it. The recent issue with Beyonce was interesting -- I got a new perspective of her and she seems like a nice person, so I don't understand why she still uses furs in her fashions. Anyhow, despite that, the magazine *does* have very useful tips; for instance, I found out about a good portable tea filter that I am interested in. Other than these handy tips, the magazine is just gloss and obsession with celebrities. Yes, it's okay to have fun sometimes and escape into celebrity-world (it's been going on since Lord Byron became the \"first official celebrity\" in the 19th century), but it's not something I'd like to read about or do every month. I'd prefer magazines like Natural Health, Allure, Glamour, and Marie Claire.

If anything, this magazine would make a great gift. The inserts are offering a two-for-one deal right now, one for you, and one as a gift for someone else near and dear. ...



Rating: 5 out of 5 stars - My absolute favourite magazine :->
For the last 8 years or so, I have collected editions of Instyle. I never meant to start collecting it, but it's the kind of magazine I can't throw away because of all the gorgeous photos and quality of this publication. They show the insides of celeb homes (even though they move on a whim and these houses probably have new owners) and fashions and beauty tips etc. It's honestly the only magazine I do buy. I love all the event pictures they show that I've not seen in other mags. It's a complete mix of other peoples styles and information about how to create your own personal style. They interview various people and also have a great segment each month called Man Of Style - to see what the hottest guys in Hollywood are wearing etc.
The thing I like most about Instyle it's that it's not just pure fluff. It's interesting and fun and I always enjoy flipping through here and going back through older copies to re-read articles and see how people have changed over the years. I really enjoy this and it's at a great price (not here in Australia) that is affordable and you get so much for that price. I love it.



Rating: 4 out of 5 stars - What's in, what's not
* Though not particularly interested in all the celebs that appear in In Style, I enjoy this magazine because it covers the fashion world pretty completely in every issue. It's a good resource for keeping up to date about such products as hair styling aids, shoes, perfume, makeup, etc. As in most fashion mags, some of the clothing featured is unwearable for ordinary women, but a good deal of what they show is stylish and practical. It also does a good job illustrating faux pas. I look forward to leafing through each new issue. ...



Rating: 5 out of 5 stars - In style magazine
I love this magazine but I haven't received a copy yet. Ordered one month ago.

(1-year) InStyle


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We've covered in too much detail how it's some sort of "open season" on Vonage when it comes to VoIP patents. After dealing with ridiculous and expensive patent lawsuits from companies who failed to actually innovate in the same way Vonage did, the company was pressured by Wall Street to quickly settle the various patent lawsuits filed against the company. Of course, rather than settle matters, that simply opened the door for other companies to go searching through their patent portfolios to see if there was anything they could sue Vonage over. Indeed, following those settlements it didn't take long for AT&T to dig up a patent and sue -- which was quickly settled as well. Thought things were over? No such luck. Nortel just showed up last month to sue and it took all of about a week and a half for Vonage to settle that case as well.

The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?

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Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.

This raw work-flow application isn't the Holy Grail many hoped it would be, but Apple Aperture 1.5 could make life easier for photographers who need to cull, retouch, and output large numbers of photographs quickly and efficiently.





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Set in Saudi Arabia, The Kingdom is a political action thriller with good acting and wonderful visuals. Its so-so script, though, at times meanders aimlessly until a good explosion jolts the viewer's attention back to the screen. Jamie Foxx stars as FBI special agent Ronald Fleury, who leads an elite team into Saudi Arabia to find the terrorists who attacked American employees working in the Middle East. He has been given the unlikely deadline of five days to infiltrate the compound, with just his wit and his crew, which includes forensics expert Janet Mayes (Jennifer Garner), explosives guru Grant Sykes (Chris Cooper), and intelligence analyst Adam Leavitt (Jason Bateman). It's unclear how helpful smarmy U.S. diplomat Damon Schmidt (Jeremy Piven) will be, but Fleury knows enough to surmise that the media-hungry Schmidt might not be completely trustworthy. Foxx and Garner have wonderful screen presence, but it's Bateman and Piven who get the best lines. Director Peter Berg peppers The Kingdom with actors he has worked with in the past. Berg, who guest-starred on Alias opposite Garner, casts Tim McGraw in a small role here. (The country singer also had a co-starring role in Berg's 2004 film Friday Night Lights.) And Kyle Chandler and Minka Kelly--two of Berg's lead actors from the Friday Night Lights television series, , make appearances in The Kingdom. The action sequences he creates are impressive and generate a sense of panic that The Kingdom producer Michael Mann (Miami Vice) undoubtedly applauds. While a tauter script would've rounded out the action nicely, the action in many cases does speak for itself. --Jae-Ha Kim
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A staggering portrait of arrogance and incompetence, the documentary No End in Sight avoids the question of why the U.S. invaded Iraq in 2003, choosing instead to focus on the war's aftermath--and meticulously examine the chain of decisions that led Iraq into a grotesque state of lawlessness and civil war. Drawing from interviews with top generals, administration officials, journalists, and soldiers who were in the thick of the war itself, No End in Sight lays out a gripping story, as suspenseful as any Hollywood movie, accompanied by terrifying footage of firefights and explosions more vivid than any special effects. Unfortunately, there is no happy ending. If the documentary has a weakness, it's the shortage of voices trying to defend the administration policies (perhaps unsurprisingly, policymakers like Dick Cheney, Donald Rumsfeld, and Paul Wolfowitz declined to be interviewed). But the testimony (presented by administration insiders and officials in Iraq, both military and civilian) argues that, despite contrary analysis and experienced advice against its actions, the top brass of the Bush administration made decisions (that aggravated already existing problems and created devastating new ones. No End in Sight builds its case one voice at a time and avoids the grandstanding that undercuts Michael Moore's work; instead, the gradual accumulation of simple facts--presented with weary resignation, earnest outrage, and restrained anger--results in a compelling condemnation of one of the worst blunders the U.S. has ever made. --Bret Fetzer
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Fans of Oliver Stone's J.F.K. will recognize the opening moments of writer-director Eugene Jarecki's Why We Fight, in which outgoing President Dwight Eisenhower warns of the pernicious and growing influence of what he called the "military-industrial complex." But Stone's movie, which uses the same footage, was a work of fiction. While those who disagree with the decidedly leftist point of view in this documentary will probably consider it the product of paranoid liberal fantasy as well, there's enough credible material, much of it supplied by the targets of Jarecki's criticisms, to make Eisenhower look like a prophet and everyone else uneasy about the dark confluence of politics, money, and war that controls the country's fortunes. The message here is that while there may be some who sincerely believe that America's various military engagements (in Iraq, Vietnam, Grenada, Panama, and elsewhere) since World War II are the product of our God-given duty to spread freedom and halt the influence of evil ideologies around the world, the real reason we fight is that war is good business. This is hardly a bulletin; anyone who is surprised by allegations that politicians pander to defense contractors, or that Vice President Dick Cheney helped secure huge deals for Halliburton, the company he formerly headed, simply hasn't been paying attention (Politicians lie? How shocking!). In fact, the principal drawback to Jarecki's film is simply that there's nothing particularly revelatory or compelling about it. Only when he takes a personal approach does he go beyond the obvious; the story of a retired New York policeman and former Vietnam veteran whose son died in the World Trade Center, who wanted revenge, but who became seriously disillusioned when Bush admitted that the war in Iraq had nothing to do with 9/11, adds some much needed human interest. Still, Why We Fight, which includes a director's audio commentary track and a few other bonus features, serves as a grim reminder that the world's most powerful nation has strayed far from the principles of our founding fathers, a development that does not bode well for America's future. --Sam Graham

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In her snowy home state of Utah, Marie Osmond serves up a warm cup of holiday cheer with Marie Osmond's Merry Christmas, her very first Christmas special. Mixing traditional songs and carols with modern melodies, Marie presents a sentimental hourlong program (originally aired on television in 1989), blending music with short sketches. The show features Kirk Cameron, then-teen heartthrob on Growing Pains; Candace Cameron, his sister and star of Full House; country singer Lee Greenwood; Sally Struthers and daughter Samantha, ice dancers Judy Blumberg and Michael Siebert, and the Osmond Boys.

Marie opens the show with an outdoor rendition of "We Need a Little Christmas" and then moves into the studio where Kirk Cameron arrives on a snowmobile (fresh from rescuing a trio of blonde snow bunnies) to read "The First Christmas Story." Lee Greenwood performs "Christmas to Christmas" and later a duet with Marie. "It's Beginning to Look a Lot Like Christmas" is sung by Sally Struthers and daughter with help from the Osmond Boys--six stepping stones ages 4 to 12 who have the senior Osmonds' moves down pat. The adorable award, though, goes to Marie's 5-year-old son, Steven, who performs a rockin' version of "Santa Claus Is Comin' to Town" (clapping on the off-beat nearly the whole song).

Marie has a good, strong voice, but many of the songs are overproduced and melodramatic. This, most likely, is a product of the big, pouffy '80s (her hair and outfits are also bigger-than-life) rather than a reflection of her talents. The closing number, "O Holy Night," sung by Marie alone, is quite lovely. --Dana Van Nest

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InStyle (1-year)
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