Times have changed and Marla's stardom is beginning to fade. Marty is behind on alimony payments to his ex-wife his house has been repossessed his prized Jaguar car has been blown up and his life is being threatened by Mob boss Rathbone (Aiello) whose talentless son Marty is being forced to promote. Listening to an old Elvis record Marty stumbles across a macabre idea as he recalls some of the countless former pop stars whose untimely deaths resulted in posthumous success. Believing that Marla's passing could make her a legend thereby reviving her ""career"" and his fortunes Marty begins plotting her tragic demise...
July '72. Vietnam. Lt. Steve Shepard missing in action. Presumed dead...15 years later he's still there. He may be a phantom of the past, but he's not dead yet.
A documentary charting the rise and fall of the Enron company from the perspective of employee Brian Cruver.
Set in the slums of Kingston, Jamaica, Dancehall Queen is a hugely enjoyable melodrama featuring a resourceful heroine, spectacularly slimy villains and a lot of very loud music. Street vendor Marcia (Audrey Reid) is under pressure from all directions--family friend Larry has made her dependent on his good will before putting sexual pressure on her teenage daughter while street thug Priest has killed a friend for minding her patch and is now trying to push his way into her bed. What is attractive about this film is that Marcia wins by playing to her strengths: she goes back to the wild-child dirty dancing she loved before having her children and becomes Mystery Lady, a contender for cash prizes in competition. Most of the film's occasional touches of wild comedy come from her attempts to keep this from her rather staid daughter and the ease with which, from behind silver foil fringes and jewelled nose-chains, she can take revenge on the men who mess with her quieter persona. This is a surprisingly classy little movie, whose rawness comes across as urgency: e en those of us who miss half the patois dialogue can't help but respond to its fizzy energy. On the DVD The DVD has digitally re-mastered music, the usual chapter index, a Web link and what is called "Hyperactive DVDROM" content which means it is very, very flashy and very, very loud. --Roz Kaveney
Are humans meant to mate for life - What drives someone in a perfectly good relationship to cheat and risk losing the one that they love and that loves them - Is it possible to love more than one person at the same time - How well does anyone really know the one that they love. Directed by Mike Nichols (THE GRADUATE, BIRDCAGE, WORKING GIRL), CLOSER questions the nature of relationships and fidelity as it follows the tangled web created by Dan (Jude Law), Alice (Natalie Portman), Anna (Julia Roberts), and Larry (Clive Owen). Dan, a British writer of obituaries, and Alice, a young American stripper, meet in the film's opening scene when a London cab runs her down. Cut to a year later: Dan and Alice are now a couple, but he is suddenly smitten with Anna, a beautiful American photographer. In an ironic twist of fate, Anna meets Larry, a British doctor, and they are soon a couple, despite Dan's continuing obsession. But the entanglements don't end there, and ultimately, someone is sure to get hurt. The four players do justice to a script that is humorous, raw and disarmingly honest about adult relationships.
Tracklist: 1. The Sound Of Summer Running 2. The Magnificent Seven 3. Under The (Five) Wire 4. Deep Gap 5. My Favorite Marsha 6. Hungaria 7. Crazy Ivan 8. The St. Brendan Story 9. The Wonderful Sea Voyage (Of Holy St. Brendan) 10. (I'm Naked And I'm) Goin' To Glasgow
Maniacs have taken over the asylum! The new owner of a mansion discovers it was once a mental home. When he visits his inheritance he sets about investigating some old crimes that took place at the mansion scaring the local populance in the process.
A rodeo star joins his gambling friend in a few adventures including being unjustly accused of robbery. They fight to prove their innocence by travelling to Poker City to uncover the truth.
San Francisco has been the setting of a lot of exciting movie car chases over the years, but this 1968 police thriller is still the one to beat when it comes to high-octane action on the steep hills of the city by the Bay. The outstanding car chase earned an Oscar for best editing, but the rest of the movie is pretty good, too. Bullitt is a perfect star vehicle for cool guy Steve McQueen, who stars as a tenacious detective (is there any other kind?) determined to track down the killers of the star witness in an important trial. Director Peter Yates (Breaking Away) approached the story with an emphasis on absolute authenticity, using a variety of San Francisco locations. Jacqueline Bisset and Robert Duvall appear in early roles, and Robert Vaughn plays the criminal kingpin who pulls the deadly strings of the tightly wound plot. --Jeff Shannon
Box set containing the following films: Buster: Buster is a small time crook who pulls a big time job. When he finds that the police will not let the case drop he flees to Mexico but finds that he must choose between his family and his freedom. Five Seconds To Spare: A young musician travels to London in pursuit of his dreams but winds up the sole witness to a bizarre murder. Christy Malry's Own Double Entry: Nick Moran uses the principles of double-entry bo
Clouds of dust and the roar of engines accompany man and machine racing against the track each other and the very essence of speed itself. Filmmakers Bruce Brown and his son Dana have revisited Malcolm Smith and the other great Motocross riders from 'On Any Sunday' to create a unique new film which allows the viewer to meet the sport's stars then and now and look back on the movie that forever changed their lives forever.
The legendary story that hovers over Orson Welles' The Stranger is that he wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a war criminal to a sleepy New England town. The part went to Edward G. Robinson, who is marvellous, but it points out how many compromises Welles made on the film in an attempt to show Hollywood he could make a film on time, on budget and on their own terms. He accomplished all three, turning out a stylish if unambitious film noir thriller, his only Hollywood film to turn a profit on its original release. Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a New England prep school for boys and newly married to the headmaster's lovely if naive daughter (Loretta Young). Welles, the director, is in fine form for the opening sequences, casting a moody tension as agents shadow a twitchy low-level Nazi official skulking through South American ports and building up to dramatic crescendo as Kindler murders this little man, the lovely woods becoming a maelstrom of swirling leaves that expose the body he furiously tries to bury. The rest of the film is a well designed but conventional cat-and-mouse game featuring an eye-rolling performance by Welles and a thrilling conclusion played out in the dark clock tower that looms over the little village. --Sean Axmaker
Spoiled teenager Kevin is given a boat for his birthday and loads it up with beer to take his friends out on the open water. When Kevin is brutally eaten by a shark the rest of the stoner crew find themselves lost far out at sea. As tense rivalries threaten to tear the gang apart they soon come to experience a series of inexplicable paranormal events that slowly reveal the horrifying truth of the boat's history.
Marilyn Monroe: Memories & Mysteries
The bitch is back. Lt. Ripley (Sigourney Weaver) is the lone survivor when her crippled spaceship crash lands on Fiorina 161 a bleak wasteland inhabited by former inmates of the planet's maximum security prison. Ripley's fears that an Alien was aboard her craft are confirmed when the mutilated bodies of ex-cons begin to mount. Without weapons or modern technology of any kind Ripley must lead the men into battle against the terrifying creature. And soon she discovers a horrifying fact about her link with the Alien a realisation that may compel Ripley to try destroying not only the horrific creature but herself as well.
When Desert Punk's life is saved by an honest man he is taught a valuable lesson in decency; a lesson he quickly forgets. But decency has no part in his next job which is easily his crappest yet... literally.
A model for dozens of action films to follow, this box-office hit from 1967 refined a die-hard formula that has become overly familiar, but it's rarely been handled better than it was in this action-packed World War II thriller. Lee Marvin is perfectly cast as a down-but-not-out army major who is offered a shot at personal and professional redemption. If he can successfully train and discipline a squad of army rejects, misfits, killers, prisoners, and psychopaths into a first-rate unit of specialised soldiers, they'll earn a second chance to make up for their woeful misdeeds. Of course, there's a catch: to obtain their pardons, Marvin's band of badmen must agree to a suicide mission that will parachute them into the danger zone of Nazi-occupied France. It's a hazardous path to glory, but the men have no other choice than to accept and regain their lost honor. What makes The Dirty Dozen special is its phenomenal cast including Charles Bronson, Donald Sutherland, Telly Savalas, George Kennedy, Ernest Borgnine, John Cassavetes, Richard Jaeckel, Jim Brown, Clint Walker, Trini Lopez, Robert Ryan, and others. Cassavetes is the Oscar-nominated standout as one of Marvin's most rebellious yet heroic men, but it's the whole ensemble--combined with the hard-as-nails direction of Robert Aldrich--that makes this such a high-velocity crowd pleaser. The script by Nunnally Johnson and Lukas Heller (from the novel by E.M. Nathanson) is strong enough to support the all-star lineup with ample humour and military grit, so if you're in need of a mainline jolt of testosterone, The Dirty Dozen is the movie for you. --Jeff Shannon
Abbott & Costello Classic Comedies three-disc collector's set consists of oddments from the latter days of their career that have fallen into public domain; which means you don't get their best routines or classiest productions, and indeed find the double act doing fairly tired schtick as Costello is chubbily chicken-hearted and Abbott grumpily money-grubbing. Africa Screams is a 1949 safari parody, with Costello running away yelping from sundry alligators, gorillas (including a Kong-sized giant), cannibals ("Chief have sweet tooth for little fat man") and lions amid backlot jungles as Abbott competes with stock villains for a fortune in diamonds. Jack and the Beanstalk, from 1952, finds the duo attempting to sell themselves as children's entertainers in a Wizard of Oz-influenced fairytale book-ended by sepia modern-day segments. The magical story unfolds in wonderfully gruesome cheap colour with some of the worst musical numbers ever committed to film ("he's perpendicular-la-la") as Jack the Clod (Costello) and Mr Dinkelpuss the Butcher (Abbott) climb the beanstalk and plod around the Giant's lair until the story runs out. Possibly the most interesting item is the third disc, which offers an episode of the Colgate Comedy Hour (aka The Abbott and Costello Show) from the 1950s. It shows the pair doing live routines closer to their original vaudeville act than their film roles (including an amazingly cruel bit in which Abbott slaps Costello every time he says the word "tin"). A loose plot about Latin American intrigue, with Lou hired to stand in for an assassination target "El Presidente", makes room for speciality guest stars ranging from child xylophonist Baby Mistin to four starlets (including Jane Russell and Rhonda Fleming) harmonising on a "Happy Easter" medley. Best of all, and now funnier than the comedy, are original hard-sell ads for household products like "Ajax, the foaming action cleanser" and "Halo, the shampoo that glorifies your hair". --Kim Newman
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