Matt Damon returns as the amnesiac assassin Jason Bourne who must return to the world he has so tried to leave behind him when a murder is committed in his name.
An amnesiac tries to discover his identity while falling in love with a wild punk girl and begins to discover that he might be a nefarious CIA assassin. Special Features Feature Commentary with Director Doug Liman The Birth of The Bourne Identity Behind the Scenes Alternate Ending Deleted Scenes Extended Farmhouse Scene Moby Extreme Ways Music Video Theatrical Trailer Johnny English (New Teaser Trailer) Hulk (Teaser Trailer)
An unexpected marriage of big-budget production values and low-budget instincts, The Ring offers chills to be savoured. Usually when Hollywood indulges its cash-hungry game of remaking foreign films the result sacrifices much of what made the original so special. Clearly, the supremely eerie supernatural vibe that permeated the legendary 1998 Japanese horror film must have done something to those Hollywood suits, because Gore Verbinski's remake is actually rather good. Certainly, it's not superior to the original, but it's undoubtedly a cut above most modern horror efforts, expertly wringing every drop of suspense. The impressive Naomi Watts (Mullholland Drive) plays a journalist investigating an urban myth of a videotape that kills the viewer a week after watching it. Succumbing to curiosity, she watches it herself--big mistake--and has a week to solve the mystery or fall victim to its sinister power. While transferring the action from Japan to modern-day Seattle may weaken the impact of the plot's mythological elements, and the film may be guilty of pointless padding (belying the original's lean format), Verbinski's effort is no less squirm-inducing, bolstered with a tremendous shocker of an ending. Exquisitely utilising the strong visual sense displayed in The Mexican, Verbinski creates a thick atmosphere of dread and suspense that never lets up, thankfully favouring old-fashioned scares, rather than retreating to blunt CG spectacle. In Watts, the film has a horror heroine who far exceeds the average wide-eyed scream queen, perfectly conveying the endless stream of bone-chilling moments. --Danny Graydon
Set against European backdrops, the story tells of a man near death with no memory, salvaged from the ocean by an Italian fishing boat.
Brian Cox earned an Olivier Award for his starring role in Titus Andronicus. He starred with Glenda Jackson and Edward Petherbridge in the revisionist staging of O'Neill's Strange Interlude. Cox supported Laurence Olivier as Burgundy in the TV adaptation of King Lear. He starred in Conor McPherson's one-man drama St. Nicholas and succeeded Alan Alda in the Tony-winning Art. He played Hermann Goering in the TNT original Nurenburg. He won an Emmy nomination for his guest role on Frasier. He created the role of Dr. Hannibal Lecter in Manhunter was featured in the Oscar-winning Brave Heart and also played a pivotal role in Rob Roy. He has recently appeared in such films as The Rookie The Ring and Spike Lee's The 25th Hour. He played the X-Men's villainous anti-mutant adversary Stryker in director Bryan Singer's X2: X-Men United. He was cast opposite Willem Dafoe in The Reckoning. He has played the role of King Agamemnon in Troy Wolfgang Petersen's epic. He was in Wes Craven's Red Eye in 2005.
Field Of Dreams (Dir. Phil Alden Robinson 1989): 'Field of Dreams' begins in an Iowa cornfield when Ray Kinsella hears a mysterious voice - ''If you build it he will come'' and sees a brief vision. With the support of his wife Annie Ray Kinsella pursues his dream and encounters several memorable characters along the way Terence Mann a legendary yet reclusive author ''Doc'' Graham and the infamous Shoeless Joe Jackson. 'Field of Dreams' is the story of a simple Iowa farmer who against all odds finds the courage to believe in his dreams. For The Love Of The Game (Dir. Sam Raimi 1999): Legendary Detroit Tigers pitcher Billy Chapel (Kevin Costner) has always been better at baseball than at love. Just ask Jane (Kelly Preston) his on-again off-again girlfriend. At the end of a disappointing season just before what may be the last professional game of his life Jane tells Billy she's leaving him. Now with his career and his love life in the balance Billy battles against his physical and emotional limits as he plays the game of his life. And now with every pitch Billy comes closer to making the most important decision of his life. The suspense doesn't end until the last ball is thrown in this heartwarming drama about love life and the perfect game.
X-Men 2 picks up almost directly where X-Men left off: misguided super-villain Magneto (Ian McKellen) is still a prisoner of the US government, heroic bad-boy Wolverine (Hugh Jackman) is up in Canada investigating his mysterious origin, and the events at Liberty Island (which occurred at the conclusion of X-Men) have prompted a rethink in official policy towards mutants--the proposed Mutant Registration Act has been shelved by US Congress. Into this scenario pops wealthy former army commander William Stryker, a man with the President's ear and a personal vendetta against all mutant-kind in general, and the X-Men's leader Professor X (Patrick Stewart) in particular. Once he sets his plans in motion, the X-Men must team-up with their former enemies Magneto and Mystique (Rebecca Romjin-Stamos), as well as some new allies (including Alan Cumming's gregarious, blue-skinned German mutant, Nightcrawler). The phenomenal global success of X-Men meant that director Bryan Singer had even more money to spend on its sequel, and it shows. Not only is the script better (there's significantly less cheesy dialogue than the original), but the action and effects are also even more stupendous--from Nightcrawler's teleportation sequence through the White House to a thrilling aerial dogfight featuring mutants-vs-missiles to a military assault on the X-Men's school/headquarters to the final showdown at Stryker's sub-Arctic headquarters. Yet at no point do the effects overtake the film or the characters. Moreso than the original, this is an ensemble piece, allowing each character in its even-bigger cast at least one moment in the spotlight (in fact, the cast credits don't even run until the end of the film). And that, perhaps, is part of its problem (though it's a slight one): with so much going on, and nary a recap of what's come before, it's a film that could prove baffling to anyone who missed the first instalment. But that's just a minor quibble--X-Men 2 is that rare thing, a sequel that's actually superior to its predecessor. --Robert Burrow
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