Eureka Entertainment to release Robert Aldrich's TWILIGHT'S LAST GLEAMING, a nail-biting thriller starring screen legend Burt Lancaster and Richard Widmark, on home video for the first time in the UK in a Dual Format edition, as part of the Masters of Cinema series, on 17 October 2016. High among idiosyncratic auteur Robert Aldrich's most powerful and intense dramas, Twilight's Last Gleaming is a thunderous political thriller and race-against-time doomsday classic. Burt Lancaster stars as the Air Force general Lawrence Dell who seizes control of a stockpile of nuclear missiles to force the US President (Charles Durning) to tell the truth about the Vietnam war. As negotiations get ever more desperate, General MacKenzie (Richard Widmark) leads an elite fighting team into the complex to disable Dell and his team directly. One of the most overlooked nail biters of the 1970s, Twilight's Last Gleaming is presented here on UK home video for the first time in a new Dual-Format edition. SPECIAL FEATURES: High-definition digital restoration Uncompressed PCM audio on the Blu-ray English subtitles for the deaf and hearing-impaired Aldrich Over Munich - The Making of Twilight's Last Gleaming documentary PLUS: A booklet featuring new writing and archival images
A medical student and a former outcast work together to build a creature made from various body parts harvested from corpses.
Carry On Don't Lose Your Head parodies the adventures of the Scarlet Pimpernel, with crinkly cackling Sid James as master of disguise the Black Fingernail and Jim Dale as his assistant Lord Darcy. He must rescue preposterously effete aristocrat Charles Hawtrey from the clutches of Kenneth Williams' fiendish Citizen Camembert and his sidekick Citizen Bidet (Peter Butterworth). The Black Fingernail is assisted in his efforts to thwart the birth of the burgeoning republic by the almost supernatural stupidity of his opponents, who fail to recognise the frankly undisguisable Sid James even when dressed as a flirty young woman. What with an executioner who is tricked into beheading himself in order to prove the efficacy of his own guillotine, it's all a little too easy. As usual, no groan-worthy pun is left unturned, or unheralded by the soundtrack strains of a long whistle or wah-wah trumpet. This is pretty silly stuff even by Carry On standards, with most of the cast barely required to come out of first gear and an overlong climactic swordfight sequence hardly raising the dramatic stakes. Most of the humour here resides neither in the script nor the characterisation but in the endlessly watchable Williams' whooping, nasal delivery (occasionally lapsing into broad Cockney) and the jowl movements of the always-underrated Butterworth. --David Stubbs
A former college sports star aligns himself with one of the most renowned bookies in new York in this drama.
Valley Of The Dolls: An adaptation of Jacqueline Susann's trashy novel telling the story of three remarkable women whose lives are affected by show-business celebrity. Beyond The Valley Of The Dolls: An uninhibited all-girl rock trio and their manager arrive in Hollywood to claim an inheritance due to one of the group. They meet Ronnie Barzell a strange personality but a gifted promoter who soon has the combo headed for the big time. During their ascent the girls beco
Red Dwarf: 20th Anniversary - All The Shows
Winner of 7 Academy Awards®, including Best Picture, The Sting stars Paul Newman and Robert Redford as two con men in 1930s Chicago. After a friend is killed by the mob, they try to get even by attempting to pull off the ultimate sting. No one is to be trusted as the twists unfold, leading up to one of the greatest double-crosses in movie history. The con is on! Special Features The Art of The Sting: 3-Part Documentary on the creation of the film, featuring Interviews with Robert Redford, Paul Newman and many more 100 years of Universal: Restoring the Classics 100 years of Universal: The 70s 100 years of Universal: The Lot
Revered as one of the best horror films produced by Hammer Studios, The Devil Rides Out is a chilling battle between good and evil. Christopher Lee, perhaps best known for his role as Dracula, gets to show his good side as the heroic and cavalier Duc de Richleau, who maintains the air of a gentleman throughout his tireless battle with a Satanic coven, led by the wonderfully villainous Mocata (Charles Gray).
It's not quite as clever as it tries to be, but The Game does a tremendous job of presenting the story of a rigid control freak trapped in circumstances that are increasingly beyond his control. Michael Douglas plays a rich, divorced, and dreadful investment banker whose 48th birthday reminds him of his father's suicide at the same age. He's locked in the cage of his own misery until his rebellious younger brother (Sean Penn) presents him with a birthday invitation to play "The Game" (described as "an experiential Book of the Month Club")--a mysterious offering from a company called Consumer Recreation Services. Before he knows the game has even begun, Douglas is caught up in a series of unexplained events designed to strip him of his tenuous security and cast him into a maelstrom of chaos. How do you play a game that hasn't any rules? That's what Douglas has to figure out, and he can't always rely on his intelligence to form logic out of what's happening to him. Seemingly cast as the fall guy in a conspiracy thriller, he encounters a waitress (Deborah Unger) who may or may not be trustworthy, and nothing can be taken at face value in a world turned upside down. Douglas is great at conveying the sheer panic of his character's dilemma, and despite some lapses in credibility and an anticlimactic ending, The Game remains a thinking person's thriller that grabs and holds your attention. Thematic resonance abounds between this and Seven and Fight Club, two of the other films by The Game 's director David Fincher. -- Jeff Shannon, Amazon.com
At the heart of Henry VIII stands a towering performance by Ray Winstone, who literally grows into the role, impressively doubling in size and ageing 40 years over the course of two feature-length episodes. Focusing on Henry's relationships with his six wives, this lavish mini-series also makes a good job of explaining the complex court intrigues of the period, detailing Henry's split with Rome and the political crisis following the creation of the Church of England. Winstone initially seems to play the King as little more than a London gangster, but he gradually unfolds a complex, brutal, manipulative, romantic, dedicated and driven man with great skill. In a role which harks back to Lady Jane (1986), Helena Bonham Carter makes an intelligent and sardonic Anne Boleyn, her bold performance contrasting strongly with Geneviève Bujold in Anne of the Thousand Days (1969). Emily Blunt impresses as the sexpot Katherine Howard, and Emilia Fox is compelling as Henry's greatest love, Jane Seymour. There's fine support from an all-star cast, including Sean Bean, Charles Dance and David Suchet. The production is unflinching, with burnings, torture, marital violence and executions graphically portrayed. If there's a weakness it lies in too-modern dialogue and an uncertain visual style, with noticeable borrowings from John Boorman's Excalibur and Ridley Scott's Gladiator, as well as setting Shakespeare in Love-style elegance against the ugly colours and graininess of reality TV. Ultimately Henry VIII plays most like a prequel to Elizabeth (1999)--right down to using the same piece of Elgar to underscore the finale--and has most of the same faults and virtues as that Oscar-winning film. --Gary S Dalkin
All 22 episodes from the fifth season of the American TV drama that delves into the lives of the stars who live in the capital of country music. In this season, the news of Juliette (Hayden Panettiere)'s plane crash shocks everyone while Rayna (Connie Britton) receives a stunning offer after Highway 65 runs into financial problems. The episodes are: 'The Wayfaring Stranger', 'Back in Baby's Arms', 'Let's Put It Back Together Again', 'Leap of Faith', 'Love Hurts', 'A Little Bit Stronger', 'Hurricane', 'Stand Beside Me', 'If Tomorrow Never Comes', 'I'll Fly Away', 'Fire and Rain', 'Back in the Saddle Again', ''Til I Can Make It On My Own', '(Now and Then There's) a Fool Such As I', 'A Change Would Do You Good', 'Not Ready to Make Nice', 'Ghost in the House', 'The Night Before (Life Goes On)', 'You Can't Lose Me', 'Speed Trap Town', 'Farther On' and 'Reasons to Quit'.
Seven years after he earned his first screen credit as the writer of Fast Times at Ridgemont High, former Rolling Stone writer Cameron Crowe made his directorial debut with this acclaimed romantic comedy starring John Cusack and Ione Skye as unlikely lovers on the cusp of adulthood. The casting is perfect and Crowe's rookie direction is appropriately unobtrusive, no doubt influenced by his actor-loving, Oscar-winning mentor, James L. Brooks. But the real strength of Crowe's work is his exceptional writing, his timely grasp of contemporary rhythms and language (he's frequently called "the voice of a generation"), and the rich humour and depth of his fully developed characters. In Say Anything, Cusack and Skye play recent high-school graduates enjoying one final summer before leaping into a lifetime of adult responsibilities. Lloyd (Cusack) is an aspiring kickboxer with no definite plans; Diane (Skye) is a valedictorian with plans to further her education in Europe. Together they find unlikely bliss, but there's also turbulence when Diane's father (John Mahoney)--who only wants what's best for his daughter--is charged with fraud and tax evasion. Favouring strong performances over obtrusive visual style, Crowe focuses on his unique characters and the ambitions and fears that define them; the movie's a treasure trove of quiet, often humorous revelations of personality. Lili Taylor and Eric Stoltz score high marks for memorable supporting roles, and Cusack's own sister Joan is perfect in scenes with her on- and offscreen brother. A rare romantic comedy that's as funny as it is dramatically honest, Say Anything marked the arrival of a gifted writer-director who followed up with the underrated Singles before scoring his first box-office smash with Jerry Maguire. --Jeff Shannon
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
The mystical tale of a World War One veteran (Matt Damon) and championship golfer who returns to his sport with the aid of his caddy (Will Smith) who teaches him how to master any challenge in life.
Comedy legend Will Hay stars as William Potts, a hapless, clumsy schoolteacher, who just happens to be an identical body double for a notorious German Nazi general. When the army is made aware of this uncanny resemblance to the German, who they are currently holding prisoner; they decide to drop the reluctant Mr Potts behind enemy lines. His deadly mission is to find and retrieve information on a secret weapon that the Germans are planning to use. But whilst impersonating the Nazi general, William Potts manages to infiltrate the college of Hitler Youth. He also manages to make a big impression on the students who are being trained as spies and are learning how to fit into British society. Luckily Mr Potts is at hand to give them lots of handy hints in honour of the war effort! Extras: Interview with Graham Rinaldi Go to Blazes Will Hay short BBC Radio 3 The Essay: British Film Comedians Will Hay Audio Featurette by Simon Heffer
This drama follows the political rivalries and romance of Queen Elizabeth II's reign and the events that shaped the second half of the 20th century. The fourth season covers the time period between 1979 and 1990, is set during Margaret Thatcher's premiership, and introduces Lady Diana Spencer. Episode 01 Gold Stick As Elizabeth welcomes Britain's first woman prime minister and Charles meets a young Diana Spencer, an IRA attack brings tragedy to the royal family. Episode 02 The Balmoral Test Margaret Thatcher visits Balmoral but has trouble fitting in with the royal family, while Charles finds himself torn between his heart and family duty. Episode 03 Fairy-tale After Charles proposes, Diana moves into Buckingham Palace and finds her life filled with princess training, loneliness, and Camilla Parker Bowles. Episode 04 Favourites While Margaret Thatcher struggles with the disappearance of her favourite child, Elizabeth re-examines her relationships with her four children. Episode 05 Fagan As Thatcher's policies create rising unemployment, a desperate man breaks into the palace, where he finds Elizabeth's bedroom and awakens her for a talk. Episode 06 Terra Nullius On a tour of Australia, Diana struggles to balance motherhood with her royal duties while both she and Charles cope with their marriage difficulties. Episode 07 The Hereditary Principle Grappling with mental health issues, Margaret seeks help and discovers an appalling secret about estranged relatives of the royal family. Episode 08 48:1 As many nations condemn apartheid in South Africa, tensions mount between Thatcher and Elizabeth about their clashing opinions on applying sanctions. Episode 09 Avalanche Charles is caught in a deadly avalanche, prompting both him and Diana to re-evaluate their commitment to their troubled marriage. Episode 10 War Amid a growing challenge to her power, Thatcher fights for her position. Charles grows more determined to separate from Diana as their marriage unravels.
When a Great Dane puppy is raised with a litter of Dachshunds, it naturally thinks it's a Dachshund too--even when it grows to 10 times the size. Dean Jones and Suzanne Pleshette star as the hapless couple who took in the galumphing dog, which wreaks havoc on their house and home. The Ugly Dachshund is mostly a series of spectacular disasters (the doggy demolition of Jones's art studio will delight kids and reduce adults to nervous wrecks), but it's held together by the convincing domestic banter of Jones and Pleshette (who was quite a dish in 1965); the pair went on to star in a couple of other Disney live-action flicks, Bluebeard's Ghost and The Shaggy D.A.. Despite some racial and gender stereotypes, it's a good-natured and amusing movie in the Disney mold. Also featuring classic character actor Charlie Ruggles (Bringing Up Baby, The Parent Trap). --Bret Fetzer
When their friend Cookie OD's best buddies and musicians Spoon (Tupac Shakur) and Stretch (Tim Roth) decide it's time to kick their drug habit by putting themselves into detox. But they soon discover that the road to rehab is paved with reams of social service red tape. Spoon and Stretch are just trying to stay alive until they can get treatment. But between the angry drug dealers the cops who have mistaken them for murderers and the people with forms and clipboards this turns into a task of epic proportions. Thus enfolds their comic adventure to sobriety.
Gentlemen Prefer Blondes, Anita Loos' old story from the 1920s about a pair of single women in search of husbands, gets a makeover in Howard Hawks' 1953 musical. The remake stars Jane Russell and Marilyn Monroe as two friends who go to Paris looking for mates. The film is charged by Hawks's stylish snap, a famous set piece or two (Monroe descending that staircase while singing "Diamonds are a Girl's Best Friend"), Russell's wit and songs by Leo Robin and Jule Styne. The film may largely be a fluff project best remembered as a showcase for its leading actresses, but then Monroe and Russell rarely got such extended opportunities to prove that they were more than cinematic icons.--Tom Keogh, Amazon.com
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