Titles Comprise:Yumurta: Poet Yusuf returns to his childhood hometown, which he hadn't visited for years, upon his mother's death. A young girl, Ayla awaits him in a crumbling house. Yusuf has been unaware of the existence of this distant relation who had been living with his mother for five years. Ayla has something to ask of Yusuf. Yusuf is obliged to perform the sacrifice his mother Zehra had been prevented by death from fulfilling.Sut: Recent high school graduate Yusuf is uncertain about his future in the provincial countryside. Writing poetry is his greatest passion and some of his poems are starting to be published in obscure literary journals. But for the time being, he continues working in his single mother's village milk business, also with an uncertain future. Up until now, Yusuf's widowed mother Zehra has focused all her attention on her only child. Still a young and beautiful woman, Zehra is having a discreet relationship with the town station master. His mother's affair, and his being named unfit for military service due to a childhood illness, make Yusuf even more anxious about making the sudden jump toward manhood.Bal: Set in an isolated region in Northeast Turkey, Bal arrives at Yusuf's childhood when six year old Yusuf has just started primary school and is learning how to read and write. His father Yakup works as a honey-gatherer, a risky trade which involves climbing up ropes into the tops of trees where the hives are. To Yusuf, who accompanies his father to work, the forest becomes a place of mystery and adventure, and he watches his father in admiration as he works sometimes higher than the eye can see. Yusuf and his father have a very strong bond and although he is tongue-tied to the point of stuttering paralysis in social situations, he can read and speak quite clearly when he's addressing his father.Ridiculed by his classmates for his stammer, Yusuf's anxieties escalate when his father must travel to a faraway forest to hang his hives in a treacherous mountainous area. Days pass and Yusuf and his mother become anxious when Yakup doesn't return. Distraught, Yusuf slips into silence but finally summons all his courage and alone, runs deep into the forest to search for his father. A journey into the unknown.
Christian Slater and Kevin Bacon star in this inspiring true story about two men who formed an unlikely friendship and fought against all odds to break an inhumane and unjust system. Alcatraz - the most feared prison in the world where no man has ever escaped with his life. Henri Young is caught attempting this impossible task and is condemned to the ""hole"" - a six by nine foot dungeon with no light or heat for ""rehabilition"". For three long years he is left naked to rot in solitary
Made at the very end of the silent era, Pandora's Box is one of the last flowerings of German cinema's greatest decade. It also marked the highpoint of two careers: Austrian director GW Pabst and American actress Louise Brooks. A merge of two linked plays by the decadent German playwright Frank Wedekind, it's the story of Lulu, the archetypal femme fatale (the same plays served as source for Alban Berg's masterly 1935 opera). At once sensual and innocent, a force of uninhibited sexuality, Lulu brings ruin on all her lovers both male and female, and ultimately upon herself. Hollywood never knew what to do with Brooks who, with her fierce intelligence and her open delight in sex, refused to play the coy flappers then in fashion. In Pabst, whose genius, she wrote, "lay in getting to the heart of a person", she found the director she needed, and he brought out her a screen persona with a depth of eroticism that's still breathtaking to see. The film features some of the finest German acting talent of the period--Fritz Kortner, Franz Lederer--but it's Brooks' luminous performance that rivets the eye and makes her a great screen icon. Though the action is nominally set in the late-19th century--Lulu ends up in a shadowy London where she encounters Jack the Ripper--Pandora's Box breathes the gamey air of the Weimar Republic, vividly captured by Günther Krampf's pungent photography. This release runs well over two hours and includes, for the first time in decades, over 30 minutes of cut footage, restoring the film to something very close to Pabst's original masterpiece. On the DVD: Pandora's Box on DVD is a clean, crisp transfer in the classic 4:3 ratio, and the mono soundtrack brings out all the detail of Peer Rubens' Kurt Weill-inflected score, stylishly performed by the Kontraste Ensemble. Dialogue intertitles can be read in either English or German. We also get an outstanding 60-minute documentary, Looking for Lulu, about Brooks' life and career: warmly narrated by Shirley MacLaine, it features excerpts from an interview with Brooks from 1976. --Philip Kemp
Two young women discover the power of sex to get what they want in the male-dominated business world. Nathalie a performance artist-stripper instructs her new friend the beautiful but inexperienced Sandrine on the art of seduction. Without delay they put their skills to the test at a Parisian bank where both rise to the top. But they meet their match in the ruthless son the bank's president - a vain unbridled power-hungry monster. Chosen by France's seminal critial publicati
Eight films from the groundbreaking female director Agnès Varda; Cleo from 5 to 7 Jacquot de Nantes L une Chante, L autre Pas Le Bonheur The Gleaners and I The Beaches of Agnès Vagabond La Pointe Courte
From the mind of writer/director Jennifer Lynch comes one of the most controversial and uncompromising thrillers of our time. When he was 9 years old, Tim and his mother were abducted by taxi-driving serial killer Bob (an intensely disturbing performance by Vincent D'Onofrio). Tim's mother was murdered. Tim was kept as a chained slave, forced to bury the bodies of young women Bob drags home and keep scrapbooks of the crimes. Now a teenager, Tim (Eamon Farren) and Bob share a depraved father...
Hideous Kinky journeys back to the early 1970s to Marrakesh, that hippy mecca for everyone from Eric Clapton and Jimi Hendrix to Gillies MacKinnon, the director of this movie. Here you'll find one nice but confused middle-class young woman escaping the daily grind of a drab London with her two young daughters in tow. Whereas Esther Freud's book was told from the younger girl's perspective, the film-script places Julia centre-stage as she searches for what she describes wistfully as "the annihilation of the ego". Though fresh from her Titanic experience, Kate Winslet is no drippy hippy, bringing a refreshing feistiness to her role and looking fetching swathed in diaphanous layers. As her two daughters, Bella Riza (Bea, the wide-eyed younger one) and Carrie Mullan (Lucy, the sensible one) are brilliant discoveries--unselfconscious, charmingly quirky and enjoying a camaraderie that belies their difference in characters. Completing the family unit is Julia's lover, the endearingly unreliable Bilal (a fiery performance from Saïd Taghmaoui). When the money runs out, their adventures begin and the resilience and practicality of the girls is contrasted throughout with the dreaminess of their mother, her sense of duty vying with her quest for self-discovery. Visually, it's a veritable feast as we're pitched from the colour and cacophony of the market-place to the dusty harshness of the mountains. And that elusive title--which is never explained in the film--is in fact a phrase coined by the girls as a term of approbation. On the DVD: Hideous Kinky is presented in widescreen 16:9 with a Dolby Digital soundtrack. Additional features are disappointing minimal. As well as the usual theatrical trailer, there are brief interviews with the main players (though no marks for imagination as they're all asked the same questions) and approximately eight minutes of behind-the-scenes footage. There are no subtitles. --Harriet Smith
Devoted to his work but emotionally unfulfilled Bernie achieves his romantic dream when he meets and eventually marries beautiful divorcee Liz. Their new life together with her young daughter Jane is blissfully happy until Liz is fatally stricken with cancer soon after the birth of their son. Heartbroken Bernie and eight-year old Jane struggle to come to terms with their tragic loss. Suddenly out of the blue arrives Jane's natural father an ex-convict. He demands money in excha
A German Scientist aids an ex-Soviet general in constructing a nuclear weapon which is in the possession of an American mercenary heading across Europe in a hijacked goods train. Malcolm Philpott a member of UNACO (United Nations Anti Crime Organisation) must use a team of hand picked agents from various parts of the globe to stop this death train at all costs.
Following a violent altercation, a young boy, Rio (Jake Schur), is forced to go on the run across the American Southwest in a desperate attempt to save his sister (Leila George) from his villainous uncle (Chris Pratt). Along the way, he encounters Sheriff Pat Garrett (Ethan Hawke), on the hunt for the infamous outlaw Billy the Kid (Dane DeHaan). Rio finds himself increasingly entwined in the lives of these two legendary figures as the cat and mouse game of Billy the Kid's final year of life plays out. Ultimately Rio is forced to choose which type of man he is going to become, the outlaw or the man of valor, and will use this self-realization in a final act to save his family. Special Features: The Making of The Kid
In an oeuvre permeated with ambivalence toward bourgeois life director Jean Renoir speculates on the result of the abandonment of those values in Boudu Saved From Drowning. Producer Michel Simon stars as Boudu a vagabond who attempts suicide by throwing himself into the Seine grieving over the loss of his dog. But Eduaord Lestingois (Charles Granval) a humane bookseller rescues him and takes him into his home hoping to reform the shaggy bum. Shortly thereafter anarchy
Stage and directed by Richard Wagner's grandson Wolfgang at the Bayreuther Festspiele in 1984 this production of Wagner's only comedy dispenses with the common cliches to reveal the humanity of each character. Here Beckmesser is no longer a foolish caricature but a cultivated intellectual; Stolzing emerges as a thoughtful individual rather than aggressive aristocrat; and Hans Sachs sheds his solemn patriarchal veneer to become a likeable middle-aged man.
Jean-Luc Godard's eagerly awaited Eloge de l'Amour was one of the highlights of the 2001 Cannes Film Festival, dividing critics between those who loved its extraordinary beauty and those who found it hard to discern an overall theme from a multitude of contending threads. Certainly the plot is elusive. A young writer (Bruno Putzulu) wants a dark-haired woman (Cecile Camp) to play a role in his evolving project, a study of the four stages of love: meeting, physical passion, separation and reconciliation. By the time the funding comes through, she has killed herself and he looks back to the time when he might, or might not have met her before. Above all, the picture explores the blurred territory between the personal and the collective memory and the difference between a life which is simply lived and one in which the individual brings the power of imagination to their existence. Ultimately, the characters remain curiously faceless and the film fragments into a kaleidoscope of merging images, colours and landscapes and collective experience triumphs.Godard's legendary status as the godfather of French New Wave cinema has long since passed into the realms of cliché. Here, the "present" is shot on the streets of Paris in black and white. Godard's city of light looks as timeless as it did back in 1966 when he made Masculin Feminin. The second part of the film is shot in digital video, absorbing the audience with its electrically intense, mesmerising colours. Eloge de l'Amour is, more than anything, a sensual experience. Godard provokes but doesn't provide any answers. But fans of his more polemical work will enjoy the satirised American producers who want to purchase the rights to the Resistance couple's story. Americans have no memory, says the author. So they buy it from others. Godard never was a fence-sitter. --Piers Ford On the DVD: the main DVD extra on this disc sounds enticing: an interview with one of the worlds most innovative and influential directors. Yet the reality is disappointing, as its merely a transcript. The biography is more of the same. The only other additional feature is the subtitles, though theres no option to turn them off. --Nikki Disney
The story of a young man who is bent on becoming the best hoodlum in the underworld society where favours are repaid in kind... or repaid in blood.
Tough but moving, Thunderheart is an unusual story about an arrogant FBI agent (Val Kilmer) who participates in a federal investigation of a murder on an Oglala Sioux reservation. Kilmer's character is part Sioux himself, a detail that leaves him cold as he sets about pushing his way through the community to find facts on the case. In time, however, he begins to feel an ethnic tug and grows increasingly sympathetic to the locals and hostile toward his fellow G-men, much to the dismay of his agency mentor (Sam Shepard). The script is based on real events that occurred on the Pine Ridge Reservation in 1975 in South Dakota (involving an armed stand-off between Indian activists and the FBI, an event that prompted Thunderheart director Michael Apted to make a companion documentary, Incident at Oglala). The conclusion of Thunderheart feels like politically charged whimsy, but the real strength of the film is Kilmer's outstanding performance as a man in transformation. Apted's clear-eyed depiction of the Sioux's spiritual and cultural continuity with the past has none of the cloying romanticism of other films about Indians. Produced by Robert De Niro. --Tom Keogh, Amazon.com --This text refers to the VHS edition of this video
After a sudden underwater tremor sets free scores of the prehistoric man-eating fish an unlikely group of strangers must band together to stop themselves from becoming fish food for the area's new razor-toothed residents.
Welcome to the schol of hard knocks. Ben a struggling teacher in his 30s is desperately trying to get his life back in order to win back his ex-wife. After abundant struggle and a haunting past an old friend gets him a teaching position at Riker's Island Prison. Meanwhile Gabriel a 17-year-old drug-dealer is arrested and sent to the same prison. Ben is having terrible luck with his teaching program and is given an ultimatum that he must have more students or the program w
This sprawling family saga follows a Hungarian-Jewish family across three generations, and stars Ralph Fiennes as the father, the son, and the grandson in three distinctly different roles. As a Europudding vehicle for Fiennes and a top-drawer cast (including Jennifer Ehle, Rachel Weisz, Deborah Unger, Miriam Margolyes and William Hurt), Sunshine delivers on all fronts: there's glossy melodrama, high-moral seriousness as history wears the family down like the wind, and leitmotifs--the family elixir called "Sunshine" that founds their fortune, semi-incestuous adulterous liaisons, photographs and faces--that thread the epic three-hour narrative together. Fiennes begins as a stiff Budapest lawyer-cum-officer and judge during the First World War, torn when anti-Semitism raises its head. His son is a champion fencer who denounces the family faith to attain advancement but ends up in the Nazi-run labour camps all the same. The last in the line, a policeman this time, must navigate the Stalinist forces of repression and endures through the 1956 uprising to take back the family name and faith. And yet as a film by director István Szabó (Colonel Redl, Mephisto), it's a bit of a soggy disappointment lacking the bile and spit and visual inventiveness that makes the best of his other works so outstanding. Perhaps the fact that Szabó is directing an all-English speaking cast is the problem, leaving the film feeling strangely old-fashioned and paradoxically lacking a sense of place (despite much of it being filmed in Hungary itself). Although there are some charged emotional beats throughout, pretty costumes, and lots of entertainingly tasteful bonking sequences, the fencing sequences in particular become tooth-pullingly tedious and the whole thing seems to drag, especially as it takes itself so seriously. --Leslie Felperin
LUCIFER is the story of the original fallen angel. Bored and unhappy as the Lord of Hell, Lucifer Morningstar has resigned his throne and retired to the City of Angels, where he owns an upscale piano bar called Lux. Lucifer is enjoying his retirement and indulging in a few of his favourite things -- wine, women, song -- when a beautiful pop star is brutally murdered outside of Lux. For the first time in roughly 10 billion years, he feels something awaken deep within him. He's not sure whether it's his suppressed desire to punish the wicked or something deeper and more confusing -- is he actually capable of feelings for a human being? The very thought disturbs him -- as well as his best friend and confidante, Mazikeen (aka Maze), a fierce demon in the form of beautiful young woman. The murder attracts the attention of LAPD homicide detective Chloe Dancer, who finds herself both repulsed and fascinated by Lucifer. As they work together to solve the pop star's murder, Lucifer is struck by Chloe's inherent goodness. Used to dealing with the absolute worst of humanity, he begins to wonder if there's hope yet. At the same time, God's emissary, the angel Amenadiel, has been sent to Los Angeles to convince Lucifer to return to Hell. But with the City of Angels at his feet and a newfound purpose, Lucifer's having too much fun to go back now. Sexy, dark and irreverent, this one-hour drama from Jerry Bruckheimer Television, based on the characters created by Neil Gaiman, Sam Kieth and Mike Dringenberg for DC Entertainment's Vertigo imprint, offers up the concept that everyone might have a chance at redemption ... even the Devil.
Even in the tiny genre of films based on songs, Convoy is a strange effort--CW McCall's 1977 CB radio-themed novelty hit was just a collection of trucker slang, but here it is gussied up by Sam Peckinpah (no less) as a big rig reprise of The Wild Bunch with Kris Kristofferson as trucker outlaw hero Rubber Duck and a wonderfully oversized Ernest Borgnine as "Dirty Lyle", the "bear" who hates "breakers" and finally decides to call in the National Guard to help him enforce traffic laws with machine guns. The plot is almost invisible, as Rubber Duck and his breaker buddies just up and decide to trundle their lorries across the Western States in a dash for Mexico (no one ever mentions delivering their loads to intended destinations) and becoming such a folk hero that the creepy governor (Seymour Cassell) tries to cash in. Kristofferson and Borgnine were old Peckinpah hands, as is heroine Ali MacGraw (a characterless photographer) and sidekick Burt Young ("Love Machine" aka "Pigpen"), and there's a lot of business about cops and outlaws who mirror each other, but the main attraction is the visuals--huge trucks rolling across desert roads in clouds of dust, police cars crashing through billboards, trucks demolishing a corrupt small town. There are traces of road-movie melancholia in the depressed cafes, jails and laybys where free spirits are broken, but it's still mostly a cash-in on Smokey and the Bandit with a few rags of poetry tossed into the mix. On the DVD: A letterboxed print, enhanced for 16x9, looks pretty good, with enough widescreen to get all the trucks into the image. But otherwise this is the sort of release that passes off "chapter search" and "multilingual menus" as extras, although there are basic filmographies for the principal and a poster/photo album. The mono soundtrack comes in English, French, Spanish and Italian. --Kim Newman
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