Queen Latifah plays a shy cookware salesperson who throws caution to the wind when she learns her days are numbered.
Whilst taking part in the Tour De France, Champion is kidnaped by the mafia. His loving grandma who has raised him since his parents died, Madame Souza, and her overweight dog, Bruno, embark on a journey to track him down. They get as far as the town of Belleville, but the trail goes cold. Then they meet the Triplets - three elderly sisters who have retired from the vaudeville scene - and together they begin their hunt afresh. Eventually they manage to discover where Champion is being held and attempt their daring rescue. As well as being one for older children and adults alike, this charming and delightful film is also an homage to the history of cinema and will keep the most hardened film buff entertained.
26 Directors: 26 New Ways To Die.... The most anticipated horror anthology sequel in the world today The ABC's of Death 2 is a showcase of worldwide gore cinema featuring the cream of the world's genre boffin crop strutting their glorious stomach-churning stuff. Comprised of twenty-six individual chapters each segment is helmed by a different director assigned to a letter of the alphabet. The directors were then given free rein in choosing a word to create a story involving death. Provocative shocking funny and at times confronting ABC's of Death 2 is a veritable smorgasbord of depravity that you don't dare miss! Special Features: 'Making of' Documentary Director Commentaries Trailers
One of the most iconic films int he history of French cinema arrives on DVD and Blu-Ray in a deluxe box set. A landmark in French Cinema Jean-Jacques Beineix's erotically charged and visually intoxicating film also heralded the arrival of a new screen icon Beatrice Dalle. Laid-back handyman Zorg spends his time doing odd jobs on beach-front chalets making chilli and harbouring dreams of becoming a writer. His life is turned upside down with the arrival of a beautiful but volatile Betty. They begin a romance fuelled by intense passion but as Betty turns increasingly violent and self-destructive Zorg tries desperately to halt her slide into insanity. Special Features: 'The Making of Betty Blue' - A Second Sight Produced Documentary Featuring new Interviews with Jean-Jacques Beineix Beatrice Dalle Jean Hughes Anglade Claudie Ossard Gabriel Yared Jean-Francois Robin Beatrice Dalle Screen Tests
All six episodes from the fourth season of the sci-fi anthology drama created by Charlie Brooker which explores the role of technology in modern society. Includes: USS Callister A woman wakes up on a Star Trek-esque space ship where the crew praise their all-knowing and fearless captain, who has used DNA scans to simulate real people within his game. Arkangel After nearly losing her daughter, a mother invests in a new technology that allows her to keep track of her child. Crocodile A woman's past comes back to haunt her while an insurance adjuster questions people about an accident with a memory machine. Hang The DJ A new dating app allows the matched couples to be told how long their relationships will last. Metalhead A woman attempts to survive in a dangerous land full of robotic guard-dogs. Black Museum A woman enters a museum where the proprietor tells her stories relating to the artifacts. Includes subtitles for the Hard of Hearing
! A typical family in a quiet suburb of a normal California faces a frightening ordeal when its home is invaded by a Poltergeist. Late one night, 5-year-old Carol Anne Freeling (Heather O'Rourke) hears a voice coming from inside the television set ... At first, the spirits that invade the Freelings' home seem like playful children. But then they turn angry. And when Carol Anne is pulled from this world into another, Steve and Diane Freeling (Craig T. Nelson and JoBeth Williams) turn to an exorcist (Zelda Rubinstein) in this horror classic from director Tobe Hooper (Texas Chainsaw Massacre films) and producer and screenwriter Steven Spielberg. Bonus Features They Are Here: The Real World of Poltergeists documentary The Making of Poltergeist Theatrical Trailer
Stage on Screen presents a Greenwich Theatre production of The School for Scandal by Richard Brinsley Sheridan. Using the full text, this effervescent, hilarious, and beautifully staged production moves at high speed, challenging the audience to keep up with the intricately wrought and brilliant comedy of Sheridan's masterpiece. "You know this is going to be fun... it is a delight... a production to relish" The British Theatre Guide
Zorg is a handyman working in France maintaining and looking after a collection of beach bungalows. He lives a quiet and peaceful life working diligently and writing in his spare time. One day Betty walks into his life a young woman who is as beautiful as she is wild and unpredictable. Suddenly Betty's wild manners start to get out of control. Zorg sees the woman he loves slowly going insane. When their relationship turns to the worst can his love prevail?
Many lesbian movies are long on charm and short on production values; Better Than Chocolate has a solid dose of both and steamy sex scenes to boot. Our heroine Maggie (Karyn Dwyer), a clerk at a lesbian bookshop, meets footloose butch Kim (Christina Cox) and, after Kim's van is towed away, they move in together. Unfortunately for their romantic bliss, Maggie's mother, Lila (Wendy Crewson), and teenage brother move in that very evening thanks to Lila's impending divorce. But what really complicates matters is that Maggie can't bring herself to come out to her mother. Even when she tries, Lila steamrollers through the conversation, as if she knows what's coming and doesn't want to hear it. Interwoven with this is the struggle of Judy (Peter Outerbridge), a male-to-female transsexual who's in love with the bookshop's owner, Frances (Ann-Marie MacDonald), who's freaking out because customs officers are holding a list of books at the border that they claim are obscene. The overlapping plots are deftly juggled, the personal and political are compellingly interwoven, and, most satisfying of all, the characters have problems that aren't going to be easily resolved. A handful of candy-coloured lip-synching musical numbers give the movie some flash and the sex scenes give it some heat, but it's the elements of sorrow and ambiguity that really make the joy in Better Than Chocolate something to savour. --Bret Fetzer, Amazon.com
The Human Body documentary is the sort of televisual undertaking that continues to justify the BBC licence fee. Presented by Robert Winston, it takes us on a journey from birth to death using time-lapse photography, computer graphics and various state-of-the-art imaging techniques to explore every aspect, every nook and crevice of the human body in its various stages of growth, maturity and eventual decay. Conception, toddlerhood, the awkward growing pains of adolescence, the incredibly complex workings of the brain (which burns up more energy than any other part of the human body, viewers of daytime TV included, apparently) and finally death are vividly depicted and explained. Winston's lucid, avuncular tones make The Human Body accessible to an intelligent 10-year-old and ages upward, though the more squeamish viewer might baulk at scenes of food being digested, or childbirth in all its inevitable messiness. Statistics abound--the average human will eat for three-and-a-half years during his or her lifetime, eat 160kg of chocolate and spend six months on the toilet. Though heart-warming in that it shows the commonality of human experience, The Human Body is also a potentially depressing reminder of our frail physicality and mortality. However, the most moving programme here features Herbie, a cancer victim who, in agreeing to have his last moments filmed as he lies dying in a hospice, has perhaps achieved a deserved immortality through this programme. On the DVD: The DVD edition includes a 50-minute feature on the making of the series and the background to the special effects used. --David Stubbs
There are angels on the streets of Berlin... One of Wim Wenders' biggest commercial successes and arguably his most accessible film to date WINGS OF DESIRE (Der Himmel uber Berlin) centres around two trench-coated angels Damiel (Bruno Ganz) and Cassiel (Otto Sander) wandering the streets of post-war pre-unification Berlin. Invisible to humans they listen to the tortured thoughts of the mortals occasionally dispensing heavenly solace to those in need. An encounter with a beaut
Strike (1925): In 1922 Lenin also had said that ""...of all of the arts for us the cinema was the most important."" In 1924 the Proletkult offered Eisenstein then 26 years of age the job of directing the first of eight episodes in the film series 'Towards the Dictatorship'. This brilliant and complex re-creation of the development of a 1912 factory strike in Tsarist Russia and its savage destruction by agents provocateurs police and mounted troops was an ideal vehicle for the youthful Eisenstein to express his desire to reflect the dialectic of the Russian revolution in the most comprehensive of art forms. Eisenstein had been developing the Kuloshov's 'montage' effect in editing and in this his first film he uses it with tremendous skill to enhance symbolism and achieve highly charged emotional responses to the strength energy and heroism of the working classes and the tragic events depicted. Strike is a truly visual and technical masterpiece which is at times overwhelming in its powerful portrayal of these events in history. Strike was the only film ever made in the series and it changed the direction of the soviet cinema for many decades to come. Battleship Potemkin (1925): Planned by the Soviet Central Committee to coincide with the celebrations for the 20th anniversary of the unsuccessful 1905 Russian Revolution this film was developed by the 27 year-old Sergei Eisenstein from less than one page of script from a planned eight-part epic that was intended to chronicle a large number of revolutionary actions. Starting with the Potemkin's crew's refusal to eat maggot-infested meat the mutiny develops and their leader Vakulinchuk is shot by a senior officer. The officers are overthrown and when the Potemkin docks at Odessa crowds appear from all directions to take up the cause of the dead sailor and open rebellion ensues. What became the Czarist soldiers fire on the crowds thronging down the Odessa steps: the broad newsreel-like sequences being inter-cut with close-ups of harrowing details. Returning to sea the Potemkin's crew prepares the guns for action as the ship flying the flag of freedom steams to confront the squadron. When they finally meet theirs worst fears are allayed as with relief coupled with joy they are universally acclaimed. This film which was destined to become such an influential landmark in cinematographic history opened in Moscow in January 1926. It ran for only four weeks. October (1927): Commissioned by the October Revolution Jubilee Committee (Chairman Nikolai Podvolsky) for the tenth anniversary of the revolution Sergei Eisenstein's third major feature film ""October 1917"" is a marvelous reconstruction of the events from February leading up to the revolution and the Bolshevik's overthrow of the czarists and Kerensky's provisional government in 1917. True to the communist philosophy there were no main characters; the proletariat providing the 'heroic' star quality throughout. The ultimate victory belonging to the revolution. Eisenstein's skill and experimentation in using fast moving and rhythmic montage to produce telling metaphors and build and intensify sequences was not fully understood by the early Russian audiences; typical examples being the rapidly alternating images employed to create a machine-gun firing and the cross-cutting between power-hungry Kerensky and the statue of Napoleon. Outstanding for the period are the dynamic sequences illustrating the massacre in the vicinity of the St Petersburg bridges and the storming of the Winter Palace which feature a profusion of exciting cinematic techniques. Eisenstein's research was extremely thorough and he did not allow contemporary events to influence his production. The film's release was dela
Set in the stately Edwardian era Kind Hearts And Coronets is black comedy at is best with the most articulate and literate of all Ealing screenplays. Sir Alec Guinness gives a virtuoso performance in his Ealing comedy debut playing all eight victims standing between a mass-murderer and his family fortune. Considered by some to be Ealing's most perfect achievement of all the Ealing films.
An extraordinarily racy movie for its time, The Wicked Lady was and still is as notable for its acres of heaving bosom as for its radical challenge to female stereotypes. This bodice-ripper about a bored aristocratic woman who turns highwayman just for kicks became a huge box-office success in post-war Britain, but Margaret Lockwood's eloquent bust proved a bit too expressive for Hollywood, so the film was expensively reshot for a sanitised US release. (From 1945 right up to Janet Jackson at the 2004 Superbowl, American audiences apparently have an enduring problem with those prominent parts of the female anatomy). This is the definitive Gainsborough picture, a period romp crammed with cads, in which the camera gazes lasciviously down (it's all shot from a male eyelevel) at the low-cut ladies' dresses. But this time the female anti-heroine gives as good as she gets... and then some. Lockwood's Lady Barbara Skelton is quite gleefully amoral--more so even than Thackeray's arch-manipulator Becky Sharp from Vanity Fair--failing even to pay lip service to the moral standards of the 1940s, let alone those of the 17th century. It is she who wears the trousers (quite literally, in her highwayman guise) while the weak-chinned and weak-willed men around her crumble under the weight of their conventionality. Only James Mason's handsome dandy highwayman can keep up with her, but even he has to draw the line somewhere. Ultimately, social mores reassert their grip and Lady Barbara gets her comeuppance, but not before she's overturned every contemporary movie convention about femininity. "She was the wickedest woman ever seen on the screen", trumpets the original theatrical trailer on this otherwise bare-bones DVD release: it's still probably true even today. --Mark Walker
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
Meet the United States' secret and most beautiful weapon in the fight against tyranny: Wonder Woman! Season 1 of 'Wonder Woman' (the Pilot movie and 13 regular episodes) retains the World War II era of the super heroine's early comic book adventures. Also captured is the exuberant tone of a comic book come to screen life as the warrior princess (empowered by her sense of a woman's worth and by the mysterious substance Feminum that's found only on her remote native isle) battle
The Angel Doll' is a beautifully touching true story told through the eyes of ten-year-old boy Jerry. He tells of his carefree life in the 1950s with his friend Whitey. Whitey is devoted to his seriously ill four-year-old sister Sandy whose only comfort from her illness is her love for angels. Although Whitey has saved money from his paper round to buy her a special angel doll he cannot find one in the small town that they live in. Jerry and Whitey set out with single-minded determination to find a doll and along the way face fear prejudice and theft. They learn what is truly important as their lives and the lives of others are affected in a very unexpected way.
Madonna gives her most believable performance in Swept Away as Amber, a rich woman on a sea cruise who expects the world to obey her every whim. When she and a high-spirited crew member (Adriano Giannini) are marooned on a small deserted island the feud that sprang up between them on the ship becomes an all-out war then changes into lustful desire as Amber finds that losing status opens up a new side of her personality. Some people will want to see Swept Away for the simple pleasure of seeing Madonna being slapped; more demanding filmgoers will, sadly, be left wanting. Though the movie purports to be a satirical examination of capitalism (as was the original 1974 version), its vague discussion of money and power adds up to very little. The love story is surprisingly sincere, making Swept Away a standard romantic potboiler with gorgeous tropical backdrops. --Bret Fetzer
A single mother who gifts her son Andy a Buddi doll, unaware of its more sinister nature.
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