Wacky inventor Wayne Szalinski and his incredible shrinking machine are the cause of an all-new mishap in Honey We Shrunk Ourselves... a hilarious movie premiere from Disney you won't find in theatres! As if shrinking the kids wasn't bad enough now Wayne has accidently shrunk himself his brother and their wives! A zany panic ensues as the tiny foursome desperately try to make their way downstairs to gain help from their children. Their frantic miniature measures include a daredevil drive down a toy race track a dizzying float in a soap bubble and an accidental crash landing in a bowlful of dip at a teenage party. Packed with amazing special effects and comical surprises Honey We Shrunk Ourselves is a king-sized comedy adventure you'll want to share with the whole family again and again.
In her fist dramatic role screen superstar Goldie Hawn gives a critically acclaimed performance as Adrienne Saunders a woman whose perfect life as a wife and mother disintegrates into a waking nightmare of betrayal and deception. Adriennes's world begins to unravel when her husband Jack (John Heard Home Alone; Awakenings) is apparently killed in a freak car accident After his mysterious death she discovers the shocking truths about the man she loved and chilling evidence of mu
Disney does Dickens in this animated version of Oliver Twist, in which a homeless New York City cat falls in with a bunch of mischievous dogs under the leadership of the appealing scoundrel Fagin. The roots of Disney's success with animation in the 1990s begins with this clever, energetic, atmospheric movie, which succeeds in capturing the grim world Dickens conjured. Lyricist Howard Ashman (The Little Mermaid) worked on the songs, the best of which is sung by Billy Joel, who provides the voice of (the Artful) Dodger. --Tom Keogh
If the idea of an Oprah Winfrey-produced film detailing the last days of a dying man and his inspirational effect on those left behind sounds a little cloying, Tuesdays with Morrie will be a rather pleasant surprise. While the presentation of this true story is certainly very American in tone, and it was obviously made for television (the points where it faded to commercial breaks are clear), it's still a surprisingly satisfying piece of work. The credit for that can firmly be laid at the door of Jack Lemmon, appearing in what was to be his last film. He excels as the terminally ill college professor Morrie Schwartz, determined to use his passing as a medium for teaching others about life. Still showing signs of the spark that made the movies of his heyday so memorable, Lemmon is also capable of bringing a magnificent pathos to the role. Co-star Hank Azaria is a more-than-equal foil, instilling his character with a growing awareness of self that blossoms before the viewer. Yes, at times it is a little too schmaltzy for its own good, but Tuesdays with Morrie is a film capable of visiting emotional extremes with ease. On the DVD: A very scanty package, with the usual scene access and Dolby Digital stereo accompanied by a text-only resume of the movie and the briefest of biographies of its cast--in Lemmon's case a massively ineffectual effort.--Phil Udell
Wacky inventor Wayne Szalinski and his incredible shrinking machine are the cause of an all-new mishap in Honey We Shrunk Ourselves... a hilarious movie premiere from Disney you won't find in theatres! As if shrinking the kids wasn't bad enough now Wayne has accidently shrunk himself his brother and their wives! A zany panic ensues as the tiny foursome desperately try to make their way downstairs to gain help from their children. Their frantic miniature measures include a dar
'Looking' offers up the unfiltered experiences of three close friends living -- and loving -- in modern-day San Francisco. Friendship may bind them, but each is at a markedly different point in his journey: Patrick (Jonathan Groff) is the 29-year-old video game designer getting back into the dating world in the wake of his ex's engagement; aspiring artist AgustÃn (Frankie J. Alvarez), 31, is questioning the idea of monogamy amid a move to domesticate with his boyfriend; and the group's oldest member -- longtime waiter Dom (Murray Bartlett), 39 -- is facing middle age with romantic and professional dreams still unfulfilled. The trio's stories intertwine and unspool dramatically as they search for happiness and intimacy in an age of unparalleled choices -- and rights -- for gay men. Also important to the Looking' mix is the progressive, unpredictable, sexually open culture of the Bay Area, with real San Francisco locations serving as a backdrop for the group's lives. Rounding out the Looking' world are a bevy of dynamic gay men including Kevin (Russell Tovey), Lynn (Scott Bakula), and Richie (Raul Castillo), as well as a wide-range of supporting characters like Dom's roommate Doris (Lauren Weedman), AgustÃn's boyfriend Frank (O.T. Fagbenle), and Patrick's co-worker Owen (Andrew Law).
Based on one of the longest-running New York Times bestsellers, 'The Glass Castle' tells the story of Jeannette Walls' unconventional upbringing at the hands of her deeply dysfunctional and uniquely vibrant parents.
This Video Nasty banned since 1982 and has at long last been approved for home viewing. Produced in 1978 The Toolbox Murders made the USA's most disturbing movie list and was vilified by the nations media. It was later released in the UK in a gore-filled double bill with Zombie Flesh Eaters at cinemas across the country. Following it's success in the cinema Toolbox was unleashed on video to a huge media backlash was subsequently banned and placed on the video nasty list in 1982. It has taken all these years to gain a certificate. The Toolbox Murders tells the story of a hooded killer who commits the most atrocious crimes in American history using a nailgun drill and other implements from his toolbox. Now you have the chance to see this film on DVD and make up your own mind about one of the most controversial films ever made.
Nowadays, the word "event" is thrown around all too often when describing television programmes, but back in 1983 the debut of V: The Mini Series was a television event in the truest sense. The appearance of gigantic flying saucers over the world's largest cities heralds the arrival of aliens from a distant galaxy who look human and act benevolently. Of course, things aren't exactly what they seem, and when some suspicious humans start to question the visitors' intentions they uncover a vast alien conspiracy, along with some unusual culinary habits. Soon, the visitors have enslaved the Earth under their fascist rule, and small groups of human rebels are forced underground to fight for the freedom of their entire species. But with the future of the planet still in question the epic story comes to an abrupt end, forcing the viewer to wait for the resolution in V: The Final Battle and the on-going series. That's not to say that the original V isn't worth the price of admission: in over three hours, it manages to capture the spirit of the great classic science fiction of the 1950s and 60s. The feeling of paranoia and insecurity that runs throughout the whole thing makes it feel, at times, like an expanded episode of The Twilight Zone, only shinier (hey, it was the 1980s). The special effects were impressive for their day, inspiring similarly themed films in the 90s (the gigantic flying saucers were seen again in Independence Day, and the storage area of the mothership turns up in The X Files Movie and The Matrix). What does irritate, however, is the utter lack of subtlety in the allegorical storyline. In fact, it could only have been made more obvious by demanding that the entire cast wear "This is how it was in 1930s' Germany" t-shirts. But if V occasionally doesn't live up to its own high standards, it's still a remarkably high-quality slice of epic television drama. On the DVD: The picture is an impressive widescreen 1.85:1 ratio and the soundtrack is adequate Dolby stereo. The DVD boasts a feature-length commentary by writer and director Kenneth Johnson, as well as a 25-minute "Behind the Scenes" documentary. --Robert Burrow
Disney loved to mix live action with animation (Mary Poppins, Bedknobs and Broomsticks), but this 1977 effort falls on its face. The turn-of-the-century story concerns an orphaned boy whose only friend is a cartoon monster. While the latter is entertainingly rendered, the rest of the film strains to be enchanting and the cast overreaches in a big way. Not for anybody over the age of ten. --Tom Keogh
Typically filled with tips on how to eke out one's pocket money, reports on the dangers of cigarettes and alcohol, wickedly accurate personality profiles, creative prose, poems and reviews, the school magazine offered a uniquely adolescent perspective on life during the 1970s. This ATV drama series for teenagers follows the progress and pitfalls of a group of fifth-formers at Oxford Lane Comprehensive School who, appalled by the blandness and timidity of their school's official effort, decide to launch a punchier alternative...A Bunch of Fives, starring Jamie Foreman and Lesley Manville, was devised by John Sichel with Colin Rogers and mostly written by BAFTA-winning writer Paula Milne. Every bit as hard-hitting and humorous as its BBC contemporary Grange Hill (which debuted inbetween series one and two of A Bunch of Fives) this release comprises both series, originally screened in 1977 and 1978.Pupil Chris Taylor is accused of something he didn't do and, in exasperation, writes about the incident for the school magazine. When games master Mr Buck refuses to print the article, Chris and some of the other fifth-formers decide to pool their journalistic talents: putting together their own magazine, 'A Bunch of Fives', they begin to seek out more relevant stories from the community in which the children live.
A white lion cub named Letsatsi is cast from his pride and is forced to survive on his own. After many perilous adventures young Letsati befriends Nkulu, an older lion who teaches him how to survive in the harsh African wilderness. With Nkulu's help, Letsatsi grows from a young and naive lion cub into a magnificent adult. But before he can take over his rightful place as the real lion king, Letsatsi must face his greatest challenge - a trophy hunter- for whom legends are worthless and rare skins priceless.
A fourth grader and his best friend set out to stop an industrialist from bulldozing their town.
Three guys try to make up for their un-athletic youth in this new comedy.
Michael Powell lays bare the cinema's dark voyeuristic underside in this disturbing 1960 psychodrama thriller. Handsome young Carl Boehm is Mark Lewis, a shy, socially clumsy young man shaped by the psychic scars of an emotionally abusive parent, in this case a psychologist father (the director in a perverse cameo) who subjected his son to nightmarish experiments in fear and recorded every interaction with a movie camera. Now Mark continues his father's work, sadistically killing young women with a phallic-like blade attached to his movie camera and filming their final, terrified moments for his definitive documentary on fear. Set in contemporary London, which Powell evokes in a lush, colourful seediness, this film presents Mark as much victim as villain and implicates the audience in his scopophilic activities as we become the spectators to his snuff film screenings. Comparisons to Hitchcock's Psycho, released the same year, are inevitable. Powell's film was reviled upon release, and it practically destroyed his career, ironic in light of the acclaim and success that greeted Psycho, but Powell's picture hit a little too close to home with its urban setting, full colour photography, documentary techniques and especially its uneasy connections between sex, violence and the cinema. We can thank Martin Scorsese for sponsoring its 1979 re-release, which presented the complete, uncut version to appreciative audiences for the first time. This powerfully perverse film was years ahead of its time and remains one of the most disturbing and psychologically complex horror films ever made. --Sean Axmaker, Amazon.com
The violent tragic but true story of a rebellious female star of the 1930s who fought the Hollywood system... and lost.
The sunny streets of Brooklyn, just after World War II. A young would-be writer named Stingo (Peter MacNicol) shares a boarding house with beautiful Polish immigrant Sophie (Meryl Streep) and her tempestuous lover, Nathan (Kevin Kline); their friendship changes his life. This adaptation of the bestselling novel by William Styron is faithful to the point of being reverential, which is not always the right way to make a film come to life. But director Alan J. Pakula (All the President's Men) provides a steady, intelligent path into the harrowing story of Sophie, whose flashback memories of the horrors of a Nazi concentration camp form the backbone of the movie. Streep's exceptional performance--flawless Polish accent and all--won her an Oscar, and effectively raised the standard for American actresses of her generation. No less impressive is Kevin Kline, in his movie debut, capturing the mercurial moods of the dangerously attractive Nathan. The two worlds of Sophie's Choice, nostalgic Brooklyn and monstrous Europe, are beautifully captured by the gifted cinematographer Néstor Almendros, whose work was Oscar-nominated but didn't win. It should have. --Robert Horton, Amazon.com
Young Pokemon trainer Ash Ketchum and his loyal friends journey to the beautiful mountain town of Greenfield, where they will encounter the Unown, the most mysterious of all Pokemon in Pokemon 3 The Movie.
The sunny streets of Brooklyn, just after World War II. A young would-be writer named Stingo (Peter MacNicol) shares a boarding house with beautiful Polish immigrant Sophie (Meryl Streep) and her tempestuous lover, Nathan (Kevin Kline); their friendship changes his life. This adaptation of the bestselling novel by William Styron is faithful to the point of being reverential, which is not always the right way to make a film come to life. But director Alan J. Pakula (All the President's Men) provides a steady, intelligent path into the harrowing story of Sophie, whose flashback memories of the horrors of a Nazi concentration camp form the backbone of the movie. Streep's exceptional performance--flawless Polish accent and all--won her an Oscar, and effectively raised the standard for American actresses of her generation. No less impressive is Kevin Kline, in his movie debut, capturing the mercurial moods of the dangerously attractive Nathan. The two worlds of Sophie's Choice, nostalgic Brooklyn and monstrous Europe, are beautifully captured by the gifted cinematographer Néstor Almendros, whose work was Oscar-nominated but didn't win. It should have. --Robert Horton, Amazon.com
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