El Mariachi (1992): All he wants to be is to be a Mariachi like his father his grandfather before him. But the town he thinks will bring him luck brings only a curse - of deadly mistaken identity. Forced to trade his guitar for a gun the Mariachi is playing for his life in this critically-acclaimed film debut from director Robert Rodriguez. Desperado (1995): Antonio Banderas Joaquim de Almeida Salma Hayek Steve Buscemi Cheech Marin and Quentin Tarantino star in this stylish shoot -'em - up described as a south-of-the-border Pulp Fiction. Director Robert Rodriguez follows up his legendary debut film El Mariachi with this sexy sequel about a mysterious guitar player (Banderas) searching for vengeance against the men who murdered his girlfriend. Once Upon A Time In Mexico (2003): The saga continues as the Mariachi (Banderas) makes his way across a rugged landscape on the trail of Barrillo (Willem Dafoe) who is planning a coup against the Mexican president. Enlisted by corrupt CIA agent Sands (Johnny Depp) the Mariachi demands retribution and the adventure begins!
When it appears as though the end is in sight the pilots flight crew and passengers of a plane heading to Mexico City look to forget the anguish of the moment and face the greatest danger which we carry within ourselves. Directed by the internationally acclaimed Spanish film-maker Pedro Almodovar with cameo appearances from Penelope Cruz and Antonio Banderas. Special Features: Making Of UK Theatrical Trailer UK Theatrical Teaser Trailer Spot 10 Spot 25 Making of VFX Creation of Airplane Crash site
Mariano Cohn and Gaston Duprat co-direct this Spanish satirical comedy drama starring Penelope Cruz, Antonio Banderas and Oscar Martinez. Hoping to finally cement his legacy, 80-year-old billionaire businessman Humberto Suarez (Jose Luis Gomez) hires acclaimed director Lola Cuevas (Cruz) to helm a film based on an award-winning novel. However, as rehearsals get underway, Lola's artistic ambitions are thwarted by her two rival lead performers: Hollywood star Felix Rivero (Banderas) and renowned thespian Ivan Torres (Martinez).
Robert Downey Jr. electrifies one of literature's most enduring characters in a vivid reimagining of the classic tale of the man who could talk to animals: Dolittle. After losing his wife seven years earlier, the eccentric Dr. John Dolittle (Downey), famed doctor and veterinarian of Queen Victoria's England, hermits himself away behind the high walls of Dolittle Manor with only his menagerie of exotic animals for company. But when the young queen (Jessie Buckley) falls gravely ill, a reluctant Dolittle is forced to set sail on an epic adventure to a mythical island in search of a cure, regaining his wit and courage as he crosses old adversaries and discovers wondrous creatures. The doctor is joined on his quest by a young, self-appointed apprentice (Harry Collett) and a raucous coterie of animal friends, including an anxious gorilla (Rami Malek), an enthusiastic but bird-brained duck (Octavia Spencer), a bickering duo of a cynical ostrich (Kumail Nanjiani) and an upbeat polar bear (John Cena) and a headstrong parrot (Emma Thompson), who serves as Dolittle's most trusted advisor and confidante.
The greatest underdog story of our time is back for one final round of the Academy Award-winning franchise.
Shrek Forever After delivers laughs, life lessons, and a striking picture of the realities of parenthood in this surprisingly good, fourth Shrek film. Like the original film, this fractured fairytale works because of the humour--it pokes fun at the whole fairytale genre on a multitude of intellectual levels while simultaneously offering visual humour that's appealing to all ages. After a frantic flip through a tongue-in-cheek fairytale book of the first three Shrek films, the scene opens on a beaming Shrek and Fiona as they awaken to a chorus of their noisy children standing at the foot of the bed, and it follows them through a typically hectic day of feeding, diapering, and caring for their children until they collapse into a satisfied heap at the end of the day. One of the funniest bits in the film, at least for adults, is how this scene repeats, faster and faster and in smaller and smaller excerpts, until Shrek's look of bliss slowly turns into a pained, midlife-crisis expression that screams "Help me, I'm trapped in this domestic purgatory and there's no escape in sight." As in any good fairytale, the protagonist's chance for escape comes in the form of a deal with the devil, in this case Rumpelstiltskin. Following in the footsteps of the classic film It's a Wonderful Life, Shrek is granted the opportunity to spend a day in an alternate reality in which he is the independent, terrifying ogre he once was. Of course, the deal carries some very serious, unintended consequences, and Shrek's day of freedom may just cost him Fiona, the children, and even his very existence. Mike Meyers and Cameron Diaz are once again stellar as the voices of Shrek and Fiona; Antonio Banderas is still all swagger despite Puss-in-Boots' now-portly figure and thoroughly domesticated ways; Eddie Murphy remains just as hilarious as in the first film as Donkey, who in this story doesn't recognize Shrek and can't fathom the possibility of a donkey and an ogre becoming friends; and Walt Dohrn is an extremely effective newcomer as the voice of Rumpelstiltskin. Other key players are the Pied Piper, with his new, tricked-out flute; a mob of broom-riding, jack-o'-lantern-throwing witches; an overgrown white goose; and a whole resistance movement of ogres under the command of a most unexpected leader. The battles are fierce and the lesson powerful: learn to appreciate what you've got. While 3-D digital is always nice, most viewers will completely forget that the film is in 3-D after the initial scene, and it will view just as well in the traditional format. --Tami Horiuchi
This box-office hit from 1969 is an important pioneer of the American independent cinema movement, and a generational touchstone to boot. Peter Fonda and Dennis Hopper play hippie motorcyclists crossing the Southwest and encountering a crazy quilt of good and bad people. Jack Nicholson turns up in a significant role as an attorney who joins their quest for awhile and articulates society's problem with freedom as Fonda's and Hopper's characters embody it. Hopper directed, essentially bringing the no-frills filmmaking methods of legendary, drive-in movie producer Roger Corman (The Little Shop of Horrors) to a serious feature for the mainstream. The film can't help but look a bit dated now (a psychedelic sequence toward the end particularly doesn't hold up well) but it retains its original power, sense of daring and epochal impact. -- Tom Keogh, Amazon.com
I'm Gonna Git You Sucka comes from Keenan Ivory Wayans--the man who brought us Jim Carrey (initially just one of the bunch on Wayans' US television comedy-sketch show, In Living Color)-- and is a comedy spoof on the blaxploitation films of the 1970s. Wayans plays Jack Spade, an army private just returning from the service. He comes home to find his younger brother June Bug dead of an overdose of gold chains (an "OG") He vows revenge, and with the help of some of the neighbourhood's old-skool heroes including Flyguy (Antonio Fargas), Kung Fu Joe (Steve James), Hammer (Isaac Hayes), Slammer (football star Jim Brown) and John Slade (Bernie Casey), Spade wages a war against Mr Big, the neighbourhood crime lord. In the tradition of Airplane! and Naked Gun, I'm Gonna Git You Sucka pokes fun through satire and offensive comedy. The film also features appearances from such varied actors as Clarence Williams III, Eve Plumb (better known to most as Jan Brady), and Chris Rock as a rib-joint customer. --Shannon Gee, Amazon.com
The true life story of artist Frida Kahlo (Salma Hayek), her marriage to Diego Rivera (Alfred Molina),her illicit and controversial affair with Leon Trotsky, and her provocative and romantic entanglements with women.
Soft-porn impresario Zalman King's Wild Orchid is supposed to be an "erotic drama", but it fails because there isn't the faintest semblance of chemistry between the three main players. "From the creators of 9 ½ Weeks comes the most eagerly awaited film of the year", trumpets the voice-over on the trailer, but therein lies the problem: in 9 ½ Weeks Mickey Rourke smouldered with Kim Basinger. In Wild Orchid, things have wilted before he even gets on screen. There is a vague semblance of plot: young, naïve, beautiful multilingual lawyer Emily (Carré Otis) is hired to help the obnoxious Claudia (Jacqueline Bisset), a big-time developer, to close a major property deal in Rio. Wheeler (Mickey Rourke) is the poor kid made good who proves the fly in the ointment. Bisset is supposed to have developed an obsession with the emotionally constipated Rourke after he rejected her. And Otis is supposed to be the one who eventually gets under his skin. But child-model turned actress Otis seems to be having trouble getting her swollen lips round a whole sentence at a time, let alone acting. The film dates from 1990 yet seems firmly stuck in the 1980s, from the obsession with all things commercial to the ludicrous fashion-sense (Rourke: big jacket, no shirt, lots of gold jewellery; Otis: virginal flowing dresses and tresses to match). And the sex scene, when it finally arrives in the dying moments, is brief and entirely unerotic. Brazil looks good though. On the DVD: Wild Orchid on disc has acceptable sound and picture, but the lack of any extra features is not impressive. When you get bored you can always amuse yourself by selecting from the substantial list of subtitles. --Harriet Smith
""A star-studded live-concert tribute to the great master of bossa nova Antonio Carlos Jobim. Artists from jazz Latin & Brazilian music gather to bring Jobim's indelible compositions to beautiful life-closing with a series of standout performances from the man himself.Herbie Hancock king of jazz-rock-funk-electronic fusion serves as emcee & provides his astonishingly dextrous piano.Shirley Horn achieves mind-blowing degrees of vocal poignancy; saxman Joe Henderson duets with dazzling young Cuban pianist Gonzalo Rubalcaba bringing together hard bop cool jazz & percussive Latin. Gal Costa Brazilian superstar sings Jobim's lyrics with true delicacy & the rhythm section includes the great modern-jazz bassist Ron Carter.A thrilling evening of sophisticated celebration of the great Jobim.""
The Tree of Wooden Clogs (L'Albero degli Zoccoli) written directed shot and edited by Ermanno Olmi is an elegiac portrait of peasant life in turn-of-the-century Lombardy and a classic example of Italian neo-realism. One year in the lives of four peasant families all living in the same farmhouse is slowly revealed in a mosaic of small but stunning sequences. There's no hero no antagonist and no great wrong that gets set right. This film is simply a slice of life a living docu
Frank Valera (Banderas) is a high-powered corporate defence lawyer who lives for his wife and daughter, but unfortunately has little time for them. Typically, he's stuck at the office, then in downpour-stalled traffic long enough to miss his child's talent-show recital. Remorse turns to concern when the duo don't return home that night. Later, police lead him to their slain bodies in a storm drain, victims of a mysterious crime. Valera then takes the law into his own hands to discover the truth, and get revenge. Starring Antonio Banderas (The Mask of Zorro, The Skin I Live In, Desparado) and Karl Urban (Star Trek, The Lord of the Rings, The Bourne Supremacy) ACTS OF VENGEANCE proves that payback really does speak louder than words.
This action packed film revolves around a voracious one-eyed giant shark some stolen diamonds a sunken ship and a barbaric murder.... David must fight for his life against the gangsters who killed his brother for a CD filled with proof of their illegal activities. When David gets possession of the new CD they go down to Mexico where David lives as a shark hunter. Who will get David first - the gangsters or the shark?
A Turkish poppy field is torched - and a U.S. drug trafficker known as ""Mommy"" is feeling pretty burned. She phones the local cops in her pocket and orders a retaliatory strike on an inner-city anti-drug headquarters. Mommy's next call should be to 911 for now she'll have to mess with Special Agent Cleopatra Jones...
Thick As Thieves (aka The Code)
Four Rooms is an unbearable quartet of stories written and directed by hot filmmakers Quentin Tarantino (Pulp Fiction), Robert Rodriguez (El Mariachi), Allison Anders (Gas Food Lodging), and Alexandre Rockwell (In the Soup), which only proves that even the smart guys can really blow it sometimes. The anthology is linked by the hotel in which all the events are taking place, and by Tim Roth as a bellboy flitting from scene to scene. Nobody overcomes the insufferable air of self-congratulation that permeates this exercise in forced hipness. Others involved include Bruce Willis, Madonna, Lili Taylor, Ione Skye, Jennifer Beals, and Antonio Banderas.--Tom Keogh, Amazon.com
In this sequel to the 2001 hit the Cortez family return, as brother & sister Carmen & Juni battle another pair of spy kids.
Set in 1910 this Brazilian drama tells of a young man who begins to question an age-old family feud over the ownership of his family's land, a feud that has already cost his brother his life.
When free-spirited beauty Carla (Yuliya Mayarchuk) moves to London, her search for a flat leads to a lesbian seduction by estate agent Moira (Francesca Nunzi), much to the horror of Carla's boyfriend Matteo (Jarno Berardi) still stuck in their native Venice. And then he discovers a cache of letters from an ex-boyfriend, accompanied by a highly revealing and very public photograph of her... Ravishingly shot in two of the world's great cities, bouncily scored by Pino Donaggio, and crammed with wall-to-wall nudity and casual sexual flings, Cheeky is as lighthearted as its title suggests, but it's subtler and more philosophical than the average sex romp. In particular, it's a genuinely moving look at problems arising when a desire to remain scrupulously faithful collides with the lure of baser instincts. Carla genuinely loves Matteo, but how can she reassure him when he spots temptation around every corner?
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