Peter Ilyich Tchaikovsky - The Sleeping Beauty - Ballet in Three Acts.
A small town cop in Illinois investigates the murders of local teenagers eventually tracing the crimes to a research laboratory where mind experiments have been taking place by an insane doctor. An extremely gruesome horror title.
Eighteen feet longer than the Lancaster the Short Stirling was the first and largest of the RAF's wartime four-engine bombers. Although well over 2 000 Sterlings were built not one remains today! Throughout Europe the search is on for a wreck that might conceivably be restored. Unitl then Remeber The Sterling is the only way to really experience this important British Bomber! This DVD features rare and exclusive wartime footage as well as interviews with Surviving Stirling aircrew members!
A rather jarring mix of period drama, trashy romance and all-star blockbuster, Duel of Hearts is a swashbuckling, bodice-ripping tale of slightly dubious quality. Based on a novel by Barbara Cartland, it provides the usual dollops of intrigue and love, although its choice of a female protagonist does at least give it some twist. The splendidly named Lady Caroline Faye (Alison Doody) is the story's plucky heroine, fighting to prove the innocence of her beau Lord Vane Brecon and discover his troubling inner turmoil. Donning a disguise that seems to consist largely of wearing her hair in a different manner, Lady Caroline places herself among the very people that would seek Brecon's undoing. Those looking for high quality drama should probably go elsewhere, but this is an entertaining enough piece of silliness, combining the history of Regency England with the production values of a daytime American soap opera. On the DVD: Duel of Hearts on DVD has had very little effort put into it, which is perhaps no surprise given the rather slapdash nature of the main feature. The sound has been digitally remastered but the picture quality hasn't, and has that dubious made-for-television look. The interactive menu is unattractive and unimaginative and there are no extras. --Phil Udell
Made in 1978, Carry On Emmannuelle was really the last gasp of the most fondly regarded series of British comedy films. In most respects, it hardly does justice to the many truly funny and brilliantly played previous scripts. But it does feature a curiously vulnerable, even touching, performance from Kenneth Williams as a French diplomat with a wife of insatiable physical appetites. In theory, of course, it aims to be a pastiche of the hugely popular Emmanuelle, which had marked the transition of soft-core erotic cinema into the art house. But it's too crudely scripted and lacking in the belly laugh inducing innuendo of the best Carry On films to succeed on that level. "Are you hungry, Loins?" Emmannuelle asks the chauffeur. "I think I could manage a little nibble," he replies. You get the idea. In the title role, Suzanne Danielle, who would go on to be the best of the Princess Diana impersonators, isn't a good enough comic actress to raise such lines above the ordinary. And the few stalwarts who returned for this outing--Joan Sims, Kenneth Connor and Peter Butterworth--just about emerge with their dignity intact. This was a Carry On too far. But fans will want it for their collection because it shows Kenneth Williams at his most professionally committed--his diaries reveal his real thoughts on the matter--and to remind themselves of the high quality of so much of the work which had gone before.On the DVD: presented in 4:3 format and with a standard mono soundtrack, this release of Carry On Emmannuelle starts off with a print of such ropey quality that you seem to be watching through a dust storm. The sound quality is little better, although on both counts things improve as the film progresses. The lack of extras is disappointing, adding to the rather sad, low-budget feel of the film itself. --Piers Ford
This psychodrama is set in New Zealand during the 1880's and is based on the true story of an orphaned 18 year old who marries a cruel much older man. He constantly abuses her and keeps her under his thumb until she finally snaps and kills him. Later she is tried in court for murder...
A chilling collection of classic horror movies comprising: Witchfinder General (1968): England is torn in civil struggle as the Royalists battle the Parliamentary Party for control. This conflict distracts people from rational thought and allows unscrupulous men to gain local power by exploiting village superstitions. One of these men is Matthew Hopkins who tours the land offering his services as a persecutor of witches. Aided by his sadistic accomplice John Stearne he trav
Joseph Andrews
When a young man with a chronic speech impediment is caught by the police for joyriding Fitz is brought onto the case and recommends a psychological evaluation. However D.S. Beck releases the young man contrary to Fitz's advice and the violent murder of a loan shark in a dark alley marks the beginning of what Fitz considers to be a Bonnie & Clyde style killing spree. A volatile male personality with enough strength to murder a man with his bare hands and a female with the sexual chemistry to lure potential victims to their death. Fitz's success on the professional front contrasts with his own personal failings as the drink and gambling take their toll.
During World War Two Britain's survival depended upon her Atlantic convoys. Stalking the convoys were 'Wulf Packs' of German U-boats engaged in a deadly game of cat and mouse with the convoy escorts and exacting a devastating toll on the defenceless merchantmen. The outcome of the entire war hung in the balance...
A bumper box set of classic films featuring 'The Queen' Barbara Stanwyck! Double Indemnity (Dir. Billy Wilder 1944): Director Billy Wilder and writer Raymond Chandler ('The Big Sleep') adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray) who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But of course in these plots things never quite go as planned and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who has a feeling that not all is as it seems... The Lady Eve (Dir. Preston Sturges 1941): In 1941 Barbara Stanwyck was offered two screwball roles equally suited to her tart intelligence deft comic timing and undeniable sex appeal and it's a photo finish as to which was funnier; showgirl-on-the-lam Sugarpuss O'Shea the title character in Howard Hawks's 'Ball of Fire' or con artist Jean Harrington a.k.a. Lady Eve Sidwich the delirious fulcrum for this classic Preston Sturges comedy. Under Sturges's typically antic microscope the collision between the gold-digging Harrington and the very rich very hapless brewery-heir-turned-herpetologist Charles Pike (a wonderfully callow guileless Henry Fonda) yields ample opportunity for the writer-director to skewer issues of class and sex; as always Sturges is bold in pushing the censors' envelope capturing a palpable erotic heat between the canny Jean and the literally feverish Charlie who after a year up the Amazon is instantly smitten by the mere sight of her shapely ankles (in hindsight a precursor to her subsequent effect in 'Double Indemnity'). The Bitter Tea Of General Yen (Dir. Frank Capra 1933): Caught in a Chinese rebellion newly-arrived American Megan Davis (Stanwyck) is rescued by a cultured bandit General Yen. When she realises she is being held captive she sets about undermining her captor. In time however she finds that it is not her confinement she must fight against - rather it is her growing attraction to the man... The Golden Boy (Dir. Rouben Mamoulian 1939): The tale of Joe Bonaparte; a boy encouraged by his father to pursue his dream of playing the violin who turns to boxing when poverty sets in. What he witnesses is the tough and uncompromising world of major league boxing; the widespread corruption; and the alluring qualities of one hot dame! The Miracle Woman (Dir. Frank Capra 1931): Barbara Stanwyck stars as Sister Faith Fallon the charismatic leader of a Pentecostal sect. David Manners plays John Carson the blind man whose life is changed by her powerful sermon. Little does he know that Faith works alongside a con-man performing hoax miracles to boost the coiffeurs. Will John's love for Faith finally steer her back onto the right path? All I Desire (Dir. Douglas Sirk 1953): Barbara Stanwyck stars as Naomi Murdock a wayward mother and struggling actress who yearns for her old life before she walked out on her family. Returning to town she finds herself the subject of hearsay and loose speculation from the locals. More importantly her husband is striking up a relationship with a local school teacher and her oldest daughter remains hostile to the mother who abandoned her. Will Naomi be able to repair the damage done and rest her demons?
Peter Sellers stars as an incompetent lawyer who must defend a man accused of murdering his wife. Despite the man's insistence that he really is guilty the lawyer sees the case as his big break.
The Millionairess (1960): Based on a play by George Bernard Shaw which studies an immensely wealthy woman who falls for the charms of a poor Indian doctor. Sophia Loren plays a spoilt heiress able to buy anything she wants. When she meets an Indian doctor (Peter Sellers) whose sole concern is to help the poor and needy she knows that this is the man for her. Although in love with her he is so terrified of being in her power that he foils all her attempts to 'buy' him. Only
Adaptation of the risqué play by Joe Orton. Kath (Beryl Reid) and Ed (Harry Andrews) are a lonely middle-aged brother and sister who live together. When Kath meets Mr Sloane (Peter McEnery) in a cemetery and falls for his charms, she invites him to become a lodger. Before long, Ed has fallen for Sloane's charms also and hires him to be his chauffeur, taking an unwholesome interest in Sloane's tight leather uniform. While Kath and Ed rival for Sloane's affections, their invalid father becomes increasingly convinced that he has some connection to an old unsolved murder. Trapped between the three of them, Sloane makes a shocking decision which has unexpected results.
James Mason stars in this powerful suspense drama as Johnny McQueen the leader of a quasi-IRA group. When he's wounded in a botched robbery he becomes the object of an intense police manhunt and must scramble desperately about Belfast in an attempt to escape. Kathleen (Kathleen Ryan) the woman who loves him also takes off in pursuit of Johnny hoping to reach him before the police do.
In 1970, The Goodies unleashed their legendary blend of surreal storylines, strikingly topical satire, slapstick and general lunacy on an unsuspecting viewing public. Capturing the irreverent and rebellious flavour of the decade, this phenomenally popular, award-winning series spread its mischief over twelve years, nine series and numerous specials, making household names of creators, writers and performers Bill Oddie, Graeme Garden and Tim Brooke-Taylor. This set comprises 24 of the best episodes. From a giant white fluffy kitten called Twinkle to a slippery climb up a giant beanstalk, from the ancient Lancastrian art of 'Ecky Thump to fighting a ban on fun instigated by an all-too-real puppet government, this is television comedy at its undeniable best!
Odd Man Out is a British classic from 1947 that fits the film noir definition in almost every respect. It's one of the milestones of its era, highlighted by what is arguably the best performance in the illustrious career of James Mason, here playing the leader of an underground Irish rebel organisation, who is seriously wounded when a payroll heist goes sour. Left for dead by his accomplices on the streets of Belfast he's forced to hide wherever he can find shelter and as his gunshot wound gradually drains his life away, his lover (Kathleen Ryan) struggles to locate him before it's too late. Although the IRA and Belfast are never mentioned by name, this film was a daring and morally complex examination of Northern Ireland's "troubles" and the compelling tragedy hasn't lost any of its impact. A study of conscience in crisis and the bitter aftermath of terrorism, this was one of the first films to address IRA activities on intimately human terms. Political potency is there for those who seek it, but the film is equally invigorating as a riveting story of a tragic figure on the run from the law, forced to confront the wrath of his own beliefs in the last hours of his life. It was this brilliant, unforgettable film that established the directorial prowess of Carol Reed, whose next two films (The Fallen Idol and The Third Man) were equally extraordinary. --Jeff Shannon
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