F. Murray Abraham, Mathieu Amalric, WES ANDERSON (Fantastic Mr. Fox) brings his dry wit and visual inventiveness to this exquisite caper set amid the old-world splendour of Europe between the World Wars. At the opulent Grand Budapest Hotel, the concierge M. Gustave (In Bruges's RALPH FIENNES) and his young protÃ©gÃ© Zero (Dope's TONY REVOLORI) forge a steadfast bond as they are swept up in a scheme involving the theft of a priceless Renaissance painting and the battle for an enormous family fortunewhile around them, political upheaval consumes the continent. Meticulously designed, The Grand Budapest Hotel is a breathless picaresque and a poignant paean to friendship and the grandeur of a vanished world, performed with panache by an all-star ensemble that includes F. MURRAY ABRAHAM (Amadeus), ADRIEN BRODY (The Darjeeling Limited), SAOIRSE RONAN (Lady Bird), WILLEM DAFOE (The Last Temptation of Christ), JUDE LAW (The Talented Mr. Ripley), HARVEY KEITEL (Mean Streets), JEFF GOLDBLUM (Jurassic Park), MATHIEU AMALRIC (The Diving Bell and the Butterfly), TILDA SWINTON (We Need to Talk About Kevin), and BILL MURRAY (The Life Aquatic with Steve Zissou). Features: 2K digital transfer, supervised by director Wes Anderson, with 5.1 surround DTS-HD Master Audio soundtrack New audio commentary featuring Anderson, filmmaker Roman Coppola, and actor Jeff Goldblum Selected-scene storyboard animatics The Making of The Grand Budapest Hotel, a new documentary about the film New interviews with the cast and crew Video essays from 2015 and 2020 by critic Matt Zoller Seitz and film scholar David Bordwell Behind-the-scenes, special-effects, and test footage Trailer PLUS: Two pieces by critic Richard Brody and a double-sided poster and other ephemera
John Schlesinger's trailblazing Oscar winner, a touchstone of the New American Cinema explosion, in a new 4K restoration. One of the British New Wave's most versatile directors, JOHN SCHLESINGER (Billy Liar) came to New York in the late1960s to make Midnight Cowboy, a picaresque story of friendship that captured a city in crisis and sparked a new era of Hollywood movies. JON VOIGHT (Coming Home) delivers a careermaking performance as Joe Buck, a wideeyed hustler from Texas hoping to score big with wealthy city women; he finds a companion in Enrico Ratso Rizzo, an ailing swindler with a bum leg and a quixotic fantasy of escaping to Florida, played by DUSTIN HOFFMAN in a radical departure from his breakthrough in The Graduate. A critical and commercial success despite controversy over what the MPAA termed its homosexual frame of reference, Midnight Cowboy became the first Xrated film to receive the best picture Oscar, and decades on, its influence still reverberates through cinema. Features: New 4K digital restoration, with an uncompressed monaural soundtrack Alternate 5.1 surround soundtrack, presented in DTSHD Master Audio Audio commentary from 1991 featuring director John Schlesinger and producer Jerome Hellman New selectedscene commentary by cinematographer Adam Holender The Crowd Around the Cowboy, a 1969 short film made on location for Midnight Cowboy ï· Waldo Salt: A Screenwriter's Journey, an Academy Award-nominated documentary from 1990 by Eugene Corr and Robert Hillmann Two short 2004 documentaries on the making and release of Midnight Cowboy Interview with actor Jon Voight on The David Frost Show from 1970 Interview from 2000 with Schlesinger for BAFTA Los Angeles Excerpts from the 2002 BAFTA LA Tribute to Schlesinger, featuring Voight and actor Dustin Hoffman Trailer PLUS: An essay by critic Mark Harris
A mocumentary comedy about the goings on behind the scenes at a major dog show.
In 1981, Absence of Malice was a prescient drama set in the world of journalism just before its power exploded out of control. The title refers to a verbal loophole effectively allowing invasion of privacy. After months of fruitlessly investigating the disappearance of a prominent figure, the Justice Division contrive to leak a story that'll flush out information. Unfortunately they pick on the one news gal with a moral backbone lurking behind the all-business façade. Sally Field is superb at controlling the contradictions within Megan, and is perfect next to the resolutely calm Gallagher (an Oscar-nominated Paul Newman). His bogus investigation is sure to backfire, and once the two get together it does so in the most satisfying of ways. Shot in gloriously sunny Miami locations, the film has a constant atmosphere of realism. When it's time to point the finger of blame, the film is given over to the starriest of cameos from Wilfred Brimley as the straight-talking Assistant Attorney General. His differentiation between truth and accuracy ought to be required learning for all journalists. On the DVD: The sound may be mono, but the picture is crisp enough. A minute-long deleted scene expanding Gallagher's business crisis is in poor condition however and doesn't add much. Neither does the theatrical trailer or three mini Filmographies of director Sidney Pollack, Newman and Field. The real extra treat is a 30-minute documentary, which features new interviews with Pollack, writer Kurt Luedtke, Newman and Field. Everyone has fond memories of making the film, even Field despite her bruises after the rough-and-tumble scene with the usually genteel Newman. --Paul Tonks
A wacky inventor, his camera crazy friend and a madcap monkey make a BIG mistake when let loose in the Professor's laboratory! With lotions and potions spilling everywhere, the trio accidentally create Francoeur, a musical talent of monstrous proportions.
Matthew Perry stars as an aspiring architect given the additional job by a big client of spying on his mistress (Neve Campbell). As he begins to fall for her it becomes clear that everyone thinks he's gay, but does he really want to jeopardise his career
A building manager and his fellow tenants rescue a mysterious young woman from their pool and try to help her to get home.
Released in 1977, Close Encounters of the Third Kind was that year's cerebral alternative to Star Wars. It's arguably the archetypal Spielberg film, featuring a fantasy-meets-reality storyline (to be developed further in E.T.), a misunderstood Everyman character (Richard Dreyfuss), apparently hostile government agents (long before The X-Files), a sense of childlike awe in the face of the otherworldly, and a sweeping feel for epic film-making learned from the classic school of David Lean. Contributing to the film's overall success are the Oscar-winning cinematography from Vilmos Zsigmond, Douglas Trumbull's lavish effects and an extraordinary score from John Williams that develops from eerie atonality à la Ligeti to the gorgeous sentiment of "When You Wish Upon a Star" over the end credits. Not content with the final result, Spielberg tinkered with the editing and inserted some new scenes to make a "Special Edition" in 1980 which ran three minutes shorter than the original, then made further revisions to create a slightly longer "Collector's Edition" in 1998. This later version deletes the mothership interior scenes that were inserted in the "Special Edition" and restores the original ending. On the DVD: CE3K is packaged here with confusing documentation that fails to make clear any differences between earlier versions of the film and this "Collector's Edition"--worse, the back cover blurb misleadingly implies that this disc is the 1980 "Special Edition" edit. It is not. A gorgeous anamorphic widescreen print of Spielberg's 1998 "Collector's Edition" edit occupies the first disc: this is the version with the original theatrical ending restored but new scenes from the "Special Edition" retained. The second disc rounds up sundry deleted scenes that were either dropped from the original version or never made it into the film at all--fans of the "Special Edition" can find the mothership interior sequence here. The excellent "making-of" documentary dates from 1997 and has interviews with almost everyone involved, including the director speaking from the set of Saving Private Ryan. Thankfully the superb picture and sound of the feature make this set entirely compelling and more than compensate for the inadequate packaging. --Mark Walker
Set on an island off the coast of New England in the 1960s, as a young boy and girl fall in love they are moved to run away together. Various factions of the town mobilize to search for them and the town is turned upside down.
Part road film, part romantic comedy, part thriller, and a whole lotta fun, The Mexican could get by on star power alone, but it offers Brad Pitt, Julia Roberts and a clever plot full of delightful surprises. It's a thoroughly enjoyable shaggy-dog story in which the downtrodden Jerry Welbach (Pitt) copes with a dual dilemma: his girlfriend Samantha (Roberts) has just dumped him to pursue solo ambitions in Las Vegas, and a manipulative mobster has ordered Jerry to Mexico to retrieve a coveted antique pistol (the "Mexican" of the title) that carries a legacy of legend, death and danger. Jerry soon has his hands full with bandits, bloodshed and a grizzly hound dog that vanishes and reappears with amusing regularity. En route to Vegas, Samantha's taken hostage by a burly assassin (James Gandolfini) who's attached to the gun-fetching scheme and is, in more ways than one, not who he seems to be. Like a good magic act, JH Wyman's original screenplay distracts you from its gaps of logic using unexpected revelations to fuel its strategic vitality. It also provides a wealth of character development, director Gore Verbinski (Mouse Hunt) giving his stellar cast equal time to shine. It hardly matters that Pitt and Roberts spend most of the film apart; their time together is worth waiting for, and the machinations that separate them play out like a cross between vintage Peckinpah and Romancing the Stone. And why is the accursed pistola so valuable? That's just another surprise, setting the stage for the arrival of yet another big-name star, whose motivations are pure in a film full of double-crosses and darkly shaded humour. With a giddy plot such as this, star power is just icing on the cake. --Jeff Shannon, Amazon.co.uk
Research scientist Eddie Jessup (William Hurt) believes other states of consciousness are as real as everyday reality. Using sensory deprivation then adding powerful hallucinogenic drugs he explores these altered states and endures experiences that make madness seem a blessing... Academy Award winner William Hurt (in his film debut) as Jessup heads a solid cast featuring Blair Brown Bob Balaban and Charles Haid. Working from Paddy Chayefsky's novel director Ken Russell guides u
Set during the 1950s blacklist a young Hollywood screenwriter (Jim Carrey) loses his job and memory after a car accident, only to fall in love with a new woman in the heart of a small town.
No director could ever have hoped to repeat the artistic achievement of Stanley Kubrick's 2001: A Space Odyssey, and nobody knew that better than Peter Hyams, who made this much more conventional film from the first of three sequel novels by Arthur C Clarke. Whereas Kubrick made a poetic film of mind-expanding ideas and metaphysical mysteries, Hyams shouldn't be blamed for taking a more practical, crowd-pleasing approach. In revealing much of what Kubrick deliberately left unexplained, 2010 lacks the enigmatic awe of its predecessor, but it's still a riveting tale of space exploration and extraterrestrial contact, beginning when a joint American-Soviet mission embarks to determine the cause of failure of the derelict spaceship Discovery. Having arrived at Discovery near the planet Jupiter, the American mission leader (Roy Scheider) and his Russian counterpart (Helen Mirren) must investigate the apparent failure of the ship's infamous onboard computer, HAL 9000, as well as the meaning of countless mysterious black monoliths amassing on Jupiter's surface (an interpretation Kubrick originally left up to his viewers). Meanwhile, Earth is on the brink of nuclear war, and an apparition of astronaut David Bowman (Keir Dullea) appears repeatedly to promise that "something wonderful" is about to happen. --Jeff Shannon, Amazon.com
Jerry Welbach (Brad Pitt) is a reluctant bagman who has a score to settle with a crime kingpin and his even more dangerous girlfriend (Julia Roberts).
Close Encounters Of The Third Kind is a mesmerizing movie about earth's encounter with spaceships and alien beings as experienced by one ordinary man.
Anybody who has written him off because of his string of stinkers--or anybody who's too young to remember The Goodbye Girl --may be shocked at the accomplishment and nuance of Richard Dreyfuss's performance in Close Encounters of the Third Kind. Here, he plays a man possessed; contacted by aliens, he (along with other members of the "chosen") is drawn toward the site of the incipient landing: Devil's Tower, in rural Wyoming. As in many Spielberg films, there are no personalized enemies; the struggle is between those who have been called and a scientific establishment that seeks to protect them by keeping them away from the arriving spacecraft. The ship, and the special effects in general, are every bit as jaw-dropping on the small screen as they were in the theater (well, almost). Released in 1977 as a cerebral alternative to the swashbuckling science fiction epics then in vogue, Close Encounters now seems almost wholesome in its representation of alien contact and interested less in philosophising about extra-terrestrials than it is in examining the nature of the inner "call." Ultimately a motion picture about the obsession of the driven artist or determined visionary, Close Encounters comes complete with the stock Spielberg wives and girlfriends who seek to tether the dreamy, possessed protagonists to the more mundane concerns of the everyday. So a spectacular, seminal motion picture indeed, but one with gender politics that are all too terrestrial. --Miles Bethany, Amazon.com
In Nazi-occupied Poland during World War II, poor Jewish cafe owner Jakob Heym (Oscar winner Robin Williams) accidentally overhears a forbidden radio news bulletin signaling Soviet military successes against German forces.
There's A Good Reason Some Talent Remains Undiscovered. Blain Missouri may be small but Corky St. Clair always dreams big. Determined to get back to the lights of Broadway he's created Red White and Blaine a musical celebration of the burg's 150th anniversary. This is Spinal Tap and Best In Show co-creator Christopher Guest plays Corky in this acclaimed comedy. Eugene Levy Catherine O'Hara Parker Posey Fred Willard and Bob Balaban co-star as stagestruck townfolk who pin their hopes of being discovered on Corky's hilariously hapless theater production... and on reports that big-time talent scout Mort Guffman will be in the audience.
Philip Seymour Hoffman stars in this look at US literary legend Truman Capote.
A building manager and his fellow tenants rescue a mysterious young woman from their pool and try to help her to get home.
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