Mike Nichols' superbly directed cinematic adaptation of Joseph Heller's scathing black comedy. 'Catch 22' is the tale of a small group of flyers in the Mediterranean in 1944. There are winners and losers opportunists and survivors. Separately and together they are frightened nervous often profane and sometimes pathetic. Almost all are a little crazy. 'Catch 22' is an anti-war satire of epic proportions!
Batman: The Movie carries the high camp absurdity of the 1960s TV show to gleeful new heights. Shark Repellent Batspray, costume-removing Batpoles, a contraption that dehydrates political figures into coloured powder, and endless childishly easy conundrums. Bringing the primary-coloured show to the big screen was a natural move, since sets, costume and casting were all in place. But what elevates the movie above the series? Is it the wonderful new toys--the Batcopter, Batboat and Batbike? Is it the OTT direction, taking the Dynamic Duo on location far more than usual? Or is it the electrifying one-upmanship between Burgess Meredith (Penguin), Cesar Romero (Joker), Frank Gorshin (Riddler) and Lee Meriwether (a new Catwoman since regular Julie Newmar was busy elsewhere)? As Commissioner Gordon says, "The sum of the angles of that rectangle is too monstrous to contemplate!" Really, the best of the movie's magic is to be found in the sheer glee Adam West and Burt Ward exhibit in playing for the big screen. This was the most exciting event in their careers. And it shows in their colourful, zestful performances. On the DVD: Batman: The Movie on disc includes an affectionate commentary from the two stars ("Oh lookee!" says West repeatedly), after which the duo are heavily involved in the wealth of additional material, even recording dialogue for the interactive animated menus. Seeing them on screen in the 16-minute featurette might be a shock, though. In the restored 1.85:1 film print they look much better! Additionally there's a five-minute "Batmobile Revealed" featurette with designer George Barris, a trailer page with some very humorous inclusions and two large galleries of behind-the-scenes photos.--Paul Tonks
When Harry Met Sally: Will sex ruin a perfect relationship between a man and a woman? That's what Harry (Crystal) and Sally (Ryan) debate during their trip from Chicago to New York. And eleven years later they're sill no closer to finding the answer. Will these two best friends ever accept that they're meant for each other... or will they continue to deny the attraction that's existed since the first moment when Harry met Sally? French Kiss: Straight-laced Kate (Ryan)has her future all planned out: marry her fiance Charlie (Timothy Hutton) and live happily ever after. What she didn't count on was Juliette the beautiful French woman Charlie falls for on a business trip to Paris! Determined to win him back Kate jumps on a plane where she meets Luc (Kline) a petty thief whom she immediately dislikes. But when Luc sneaks a stolen necklace into Kate's purse she finds herself travelling through France with him on a trip full of surprises: the biggest one being that this con man is stealing her heart! A sexy savvy and very funny romantic romp 'French Kiss' is a passionate heartfelt reminder that life can always surprise you. Jack And Sarah: Jack (Richard E. Grant) has it all - a perfect marriage a successful career and a dream home. But his world crumbles when his wife dies giving birth to their daughter Sarah. Even though he is struggling to cope with his broken heart and a newborn baby Jack rejects the offers of help from his family (Judy Dench and David Swift) in a bid to prove his independence. Instead he builds a quirky family of his own when he takes on a down-and-out (Ian McKellen) to be his housekeeper and American waitress Amy (Samantha Mathis) to be his nanny. Once Amy moves in life becomes a series of mishaps and conflicts with touchingly funny moments as the mis-matched characters learn to live with each other. But when Jack's female boss begins to show more than a professional interest in him the tension mounts as Amy and Jack begin to realise their true feeling for each other....
Brad Pitt and Vinnie Jones star in this tale of a London jewel heist, the new film from the director of Lock, Stock and Two Smoking Barrels.
Good weather for hanging. Billy the Kid's outlaw ingrates are penned like sows in a Lincoln County pit and the Kid is strapped in a nearby hotel. But the hangman will go home disappointed tonight. Billy cleverly breaks himself - then his gang - free. One of the West's greatest legends lives on to ride another day. Emilio Estevez, Keifer Sutherland, Lou Diamond Phillips and Christian Slater saddle up for Young Guns II, featuring Jon Bon Jovi's 1990 Oscar® - nominated* and Golden Globe® Award-winning Best Original Song ʻBlaze of Glory'. By 1879, the Lincoln County Wars have ended but bad blood endures. Billy and his men look to Mexico for haven - if they can elude Billy's one-time friend, pursuing sheriff Pat Garrett (William Petersen).
Night Dragon
Alan Davies (Bob And Rose Jonathan Creek) stars as Henry Farmer a criminal practice barrister engaged in an ongoing fight for justice in the courtroom. Henry's life is dominated by chaos he has a huge workload debt and alimony payments to meet...and all this whilst being in love with the wife of a prominent politician who won't leave her husband for him! The Brief is an engaging blend of courtroom drama suspense intrigue and humour.
Carl Scaffner (Steiger) is on the run from Scotland Yard after stealing a massive fortune and fleeing to Mexico. However his fugitive lifestyle is under threat from his his love for a faithful dog... Based on a novel by Graham Greene.
The Mouse That Roared, originally released in 1959, is mostly remembered as a tour-de-force from peerless comic actor Peter Sellers, playing all three of the principal roles. It's worth seeing for that alone, but the film is also one of the most memorable satires of nuclear geopolitics produced during the Cold War and, along with another Sellers vehicle, Dr Strangelove, provides an unbeatable illustration of the paranoia and helplessness engendered by that period. The Mouse That Roared tells the story of the fictional European principality of Grand Fenwick. Finding itself on the wrong end of a trade dispute with the United States, and noting America's generosity in rebuilding the countries it had fought in World War II, Grand Fenwick's rulers hit upon the idea of declaring war on the US, losing, and then reaping a Marshall Plan-style hand-out. The plan, proposed by Grand Fenwick's prime minister (played by Peter Sellers), is approved by the monarch (also played by Peter Sellers), who dispatches an invasion force of chain mail-clad archers under the command of Grand Fenwick's hapless Field Marshal (also played by Peter Sellers). Due to a series of happenstances and misunderstandings, Grand Fenwick's plan goes terribly wrong, and they inflict a surprising defeat on America, with curious consequences. On the DVD: The Mouse That Roared is presented in 1.85:1 widescreen; sound is mono. Soundtracks are available in English, French, German, Italian and Spanish, and subtitles in all those as well as most other major European languages, Hebrew and Arabic. Special features include a scene selector, and three theatrical trailers: one for this film (English audiences will get a kick out of the 1950s American announcer raving about "an hilarious new personality, Peter Sellers"), one for Sellers' much bleaker (and much funnier) Cold War satire Dr Strangelove, and one for his slight horror spoof Murder By Death. --Andrew Mueller
The first two episodes of this BBC miniseries only hint at the delights to come. A lawsuit aimed at church reform in the town of Barchester forces a decent middle-aged clergyman (Donald Pleasence) into a moral crisis and a conflict with his son-in-law, a pompous archdeacon (Nigel Hawthorne, The Madness of King George). The gracefully written and acted narrative shows glimpses of dry wit--but in episode 3, the arrival of a new bishop (Clive Swift, Keeping Up Appearances), his imperious wife (Geraldine McEwan, The Magdalene Sisters), and his devious chaplain (Alan Rickman, Truly Madly Deeply, the Harry Potter movies) launches The Barchester Chronicles into a satirical power struggle all the more mesmerizing because of the smallness of the territory. The scheming of the citizens and clergy of this British town is both Byzantine and wonderfully comic as the tempestuous personalities claw and dig at each other. Rickman, in one of his first film or television roles, turns in a tour de force of oily ambition. McEwan's ferocious machinations are downright terrifying, while the sputtering Hawthorne seems constantly in danger of bursting a vein. At the center of it all is Pleasence. Making goodness compelling has always been difficult, since wickedness is always more dramatic; but Pleasence brings a deep and stirring passion to his role that proves as engaging as all the back-biting that surrounds him. And these are just the more familiar faces; a host of lesser-known actors give equally superb performances. The final episode (of seven) will have you on pins and needles. The Barchester Chronicles, adapted from two novels by Anthony Trollope, is one of those marvels of British television, a skillful production that proves intelligent fare can be hugely entertaining. --Bret Fetzer
The twist of private-eye show Randall & Hopkirk Deceased is that in the first episode, gumshoe Marty Hopkirk (Kenneth Cope) is killed off by the villains, only to pop up in an immaculate white suit as a ghost visible only to his hardboiled partner Jeff Randall (Mike Pratt). In theory, the supernatural streak--which meant a complex set of rules about Marty's appearances and effects on the physical world--should lead the show into wilder territory, but most episodes squander the team's unique abilities on ordinary cases about blackmail and murder-for-profit. A persistent subplot has the living Jeff getting cosy with the dead Marty's widow Jean (Annette Andre) to the discomfort of her late husband. The elementary effects and the nice underplaying of the leads have a certain period charm, and the show could afford a high calibre of special guest villains and dolly birds. A 1990s remake with Vic Reeves and Bob Mortimer hasn't obliterated memories of the original. --Kim Newman
Based on the best-selling novel by Jack Higgins. Weary of violence and on the run from his past Martin Fallon (Mickey Rourke) an ex-IRA assassin tries to leave the killing behind him. A mob leader coerces him into killing one last time for a promise of freedom. The priest who accidentally witnesses the slaying is forced to keep quiet when he confesses to him but the mob leader orders the assassin to murder the priest and the three lives intersect for one moment when the only commandment is... Kill or be killed.
Director Paul Greengrass recounts the final moments of the ill-fated flight in this 9/11 drama.
It's a plot! To make the world die laughing! Russian Lt. Rozanov (Arkin) and his crew hit the beaches of Massachusetts unaware of the panic they're about to start. Despite the Russians' harmless intentions the folks in town think a full-scale Soviet invasion has been launched! What's worse their police chief (Keith) has left his hysterical assistant (Winters) in charge and the one man who knows the truth (Reiner) is only stirring up more chaos!
Why did Hollywood think it was a good idea to take Get Carter--Mike Hodges' classic 1971 study in gangster psychology--transplant the setting from decaying Tyneside to a present-day American metropolis, neuter the screenplay so that precious little of the original's acerbic humour and subtlety remain, and assign the lead role of Jack Carter, memorably taken by Michael Caine in the original, to Sylvester Stallone? No amount of Rocky-cum-Rambo routines can convince you that he's remotely inside the character, even though here Carter's psychotic side has been airbrushed out as he seeks revenge for the murder of his brother and rape of his niece. Miranda Richardson is a wearily sympathetic Gloria, and Rachel Leigh Cook a not-too-bratish Doreen (is this actually used as an American name?). Mickey Rourke looks suitably wasted as loutish businessman Cyrus; Alan Cumming is an annoyingly smug computer whizz Kinnear (wouldn't you have pulled the trigger?), while Michael Caine loses all credibility for his cameo appearance as Cliff Brumby. Did he really need the cash? On the DVD: Get Carter on disc is a classy but lifeless production. Extras include the theatrical trailer, cast and crew details, and six deleted scenes which are too brief to be more than off-cuts. Three spoken and nine subtitled languages are provided, and there's director Stephen Kay's pithy running commentary to enjoy. Even he, however, often sounds at a loss to explain just why the film was made. Thank goodness the original movie is also available on DVD. --Richard Whitehouse
In a prequel to legendary horror "The Exorcist," priest Lancaster Merrin encounters unspeakable evil in the deserts of East Africa.
*Titles to be confirmed
X-Men 2 picks up almost directly where X-Men left off: misguided super-villain Magneto (Ian McKellen) is still a prisoner of the US government, heroic bad-boy Wolverine (Hugh Jackman) is up in Canada investigating his mysterious origin, and the events at Liberty Island (which occurred at the conclusion of X-Men) have prompted a rethink in official policy towards mutants--the proposed Mutant Registration Act has been shelved by US Congress. Into this scenario pops wealthy former army commander William Stryker, a man with the President's ear and a personal vendetta against all mutant-kind in general, and the X-Men's leader Professor X (Patrick Stewart) in particular. Once he sets his plans in motion, the X-Men must team-up with their former enemies Magneto and Mystique (Rebecca Romjin-Stamos), as well as some new allies (including Alan Cumming's gregarious, blue-skinned German mutant, Nightcrawler). The phenomenal global success of X-Men meant that director Bryan Singer had even more money to spend on its sequel, and it shows. Not only is the script better (there's significantly less cheesy dialogue than the original), but the action and effects are also even more stupendous--from Nightcrawler's teleportation sequence through the White House to a thrilling aerial dogfight featuring mutants-vs-missiles to a military assault on the X-Men's school/headquarters to the final showdown at Stryker's sub-Arctic headquarters. Yet at no point do the effects overtake the film or the characters. Moreso than the original, this is an ensemble piece, allowing each character in its even-bigger cast at least one moment in the spotlight (in fact, the cast credits don't even run until the end of the film). And that, perhaps, is part of its problem (though it's a slight one): with so much going on, and nary a recap of what's come before, it's a film that could prove baffling to anyone who missed the first instalment. But that's just a minor quibble--X-Men 2 is that rare thing, a sequel that's actually superior to its predecessor. --Robert Burrow
They started with street corner harmonising and became slick stage performers destined to become rhythm and blues royalty. This film tells the true story of the pressure that goes with one of the most successful Motown singing-groups in history The Temptations from their personal battles with drug and alcohol abuse to their bitter break up...
Hugely controversial Factional Drama in 4 parts each from a different point of view - Metropolitan Police the criminal the solicitor and the prison system. Groundbreaking in both its style and its damning portrayal of corruption in the British legal system; the British Police had never been portrayed in that way before on TV. The central premise of the drama is that it claimed that the Police and the criminals were not actually that different in terms of the way they operated. Caused a massive storm when broadcast on the BBC; the switchboards were jammed for hours with irate callers. Questions were asked in the House of Parliament concerning the issues raised by Law and Order.
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