Maurice Sendak's classic book "Where the Wild Things Are" comes to the big screen in an adventure tale for every generation.
Craig moves with his daughter, Jennifer, into a new home after the death of his wife. It's not long before the pair discover the house is haunted by a dark presence that wants to take over the child. One day Jennifer disappears and Craig must face a terrible truth in order to find his daughter.
Tribulations of inept reservists who find a fortnight's training an unwelcome interruption.
In this Zurich Opera House staging of Mozarts darkly comic cautionary fable Don Giovanni the lighting and stage design keep the characters shaded in half-shadow: even Zerlinas wedding feels like a subdued affair here, and the Dons banqueting room is a suitably gloomy venue for the Stone Guests climactic visit for a spot of dinner and damnation. Both this staging and video director Brian Larges filming play no tricks with the audiences expectations, opting for a largely traditional presentation of this tragedy of swaggering bravado, cuckolded lovers and revenge from beyond the grave. Nikolaus Harnoncourt brings all the sensitivity of his historically informed approach to the orchestra pit. Heading a very strong cast are Rodney Gilfry, defiantly strong-voiced but also haughtily handsome as the seducing Don, and Cecilia Bartoli, a mercurial presence as Donna Elvira. Their scenes together crackle and fizz, even when Bartolis extremely ripe vibrato contrasts a little uncomfortably with Harnoncourts authenticity. Liliana Nikiteanu makes for a pretty, naïve Zerlina, convincingly torn between her Masetto (Oliver Widmer) and the animalistic attraction of the Don. Laszlo Polgars Leporello is wheedling and base, but still the inheritor of his masters charisma; Isabel Rey and Roberto Sacca are solid as the colourless moralists Anna and Ottavio; while Matti Salminens powerful Commendatore isnt expected to do anything more than stand still and declaim. Overall this is an excellent musical performance, unexceptionally staged. On the DVD: Don Giovanni on disc has a good 24-minute "Behind the Scenes" feature, including interviews with Cecilia Bartoli, Harnoncourt, Gilfry and Isabel Rey. Theres also a trailer for other ArtHaus releases. The 16:9 picture sometimes struggles to bring definition to the dimly lit sets; sound though is crisp and clean PCM stereo or Dolby 5.1. There are subtitles in five languages. --Mark Walker
The story takes place in England around the beginning of the 20th Century. Sensually exploring a young schoolgirl's awakening to love during her summer vacation. The young girl, Bilitis, is shocked when she witnesses her friend Melissa and her husband making love. Melissa encourages Bilitis to discover the aspect of love by seeing a young photographer, Lucas. He tries to make love to Bilitis, and she rebuffs him and runs to Melissa, who in comforting Bilitis finds herself responding to her kisses. But she tells Bilitis there must be nothing more between them. Bilitis discovers Melissa's husband is with another woman, so she decides to find another man for Melissa. Doing so Bilitis is realising she is not yet ready herself for adulthood.The English photographer David Hamilton has achieved unusual visual beauty in making his first motion picture enhanced by the music of Francis Lai.
Respect Is Something You Earn. Turn It Up is an explosive contemporary drama about a gifted musician's struggle to rise above the crime-plagued urban streets and realize his dream. Diamond (""Pras"" of the Fugees and Mystery Men) is unwittingly drawn into the world of drug-running by his childhood friend Gage (rapper Ja Rule Backstage). The sudden death of Diamond's mother and the untimely pregnancy of his girlfriend force Diamond to make hard choices about his life and the people
High school can be hell but popularity can be murder! In the halls of Valley High no one's hotter sexier or more ruthless than the well-dressed ""Huns"" - beautiful Danielle (Julie Benz Taken) ditzy Tiffany (Nicole Bilderback Bring it On) and brainy Brooke (Monica Keena TV's Dawson's Creek). They rule the school with a manicured fist until a mysterious and gorgeous foreign exchange student arrives on the scene and steals away the attention of seriously hunky Drew. What's a sassy trio of popular girls to do? Murder of course! Starring Christopher Lloyd (Back to the Future trilogy) and acclaimed actress Janet Leigh (Psycho) Bad Girls from Valley High is an all-new screamingly funny thriller that proves that high school can be hell but popularity can be murder.
Aida Live From Royal Opera House July 1994
Elegiac and atmospheric Shakespeare Wallah made in 1965 was the feature film that really put Merchant Ivory Productions on the international movie map winning them great critical acclaim. It is now recognised as a classic.Starring a young FELICITY KENDAL SHASHI KAPOOR and MADHUR JAFFREY the film's inspiration lies behind the real-life adventures of Felicity Kendal's family as a travelling theatre troupe in India during the twilight days of English colonial rule. Essentially a culture-clash romance which blends Shakespeare and British tradition with the emerging Indian 'pop' culture the film traces the developing relationship between Lizzie one of the members of the acting troupe with Sanju a wealthy Indian playboy. But their romance is beset by hindrances not the least being the machinations of Manjula a fiery Indian cinema star who is also in love with Sanju.
5150 Elm's Way is located at the end of a quiet street in a small town. When Yannick fell off his bike he knocked at the door of the Beaulieu residence so he could clean the blood off his hands. But Jack Beaulieu and his family had other plans for Ian. Beaulieu is a righteous psychopath and fanatic chess player who wants to rid the world of evil. And even though Ian has done nothing wrong he is beaten tortured and tormented before Beaulieu makes him an offer: win at chess and he is free to go. And so Ian is now a pawn in Beaulieu's game. A game in which he will either lose his mind or his life.
Each of this 'Bad Pack' are hand-picked bringing their own special skills and expertise to the table. Sims is a tough world class race car driver hired to drive munitions. Kurt is an out-of-work former East German spy of extraordinary physical strength. Remi a gorgeous assassin with a personal score to settle carries a large chip on her beautiful shoulder. Callin is a seventh degree black belt. Britt is a brilliant rookie FBI agent who has yet to face a fight and Hoffman was just sprung from the mental institution that he frequents and is crazy enough to do anything! The cynical seven are re-united once again for the most dangerous mission in their mercenary careers and for the 'Bad Pack' they can only have one motto: only the baddest will survive!
A psychopath kidnaps a teenage girl and buries her alive in a capsule that will become her tomb in 83 hours unless her father pays a huge ransom. Based on a true story.
Ben Affleck is a man who switches plane tickets with another who dies in a plane crash. A year later he seeks out the widow (Gwyneth Paltrow) and begins to fall in love with her..
Winner of the Waldo Salt Screenwriting award at the 2002 Sundance film festival, Love Liza features a tour de force performance by Philip Seymour Hoffman, as Wilson Joel - a man in trouble.
The Graham Vicks production of Falstaff opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes, especially Falstaff's unusually hideous get-ups, go several steps beyond the Breughelian effect Vicks intended. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections. --Roz Kaveney On the DVD: The Dolby Digital 5.1 sound is powerful and filled with detail, capturing the excitement of the performance and the atmosphere of the Royal Opera House superbly. The anamorphically enhanced 1.77:1 widesceen image is very clear, and while given the source inevitably not up to the highest feature film standards, is among the best live classical titles yet released on DVD. The bold colours are particularly well realised, though the red lighting of the Garter Inn scenes causes the image to falter a little. There are optional subtitles in English, French and German. These are presented directly over the picture and would be easier to read had they been a little larger, or outlined in some way. The special features consist of a brief synopsis by James Naughtie, taken directly from the original television broadcast, a minute-long "comment" by conductor Bernard Haitink and short but interesting interviews with Bryn Terfel and director Graham Vick. Finally there is a nine-minute episode from the series of short BBC films, Covent Garden Tales on the 1999 modernisation of the Royal Opera House. --Gary S Dalkin
Traveling through Nebraska Burt (Peter Horton) and Vicky (Linda Hamilton) stop in a small town to report the death of a child on the highway. There they discover something strange about the community: all the grownups are gone and the children seem to belong to a strange cult. What's worse it's a cult that sacrifices adults to the dreadful 'he who walks behind the rows'... Based on a Stephen King short story.
I look so I can hear... Nicolas Philibert's documentary about deafness captures and celebrates the expressiveness of language without a voice. As the camera lingers on the graceful choreography of signing it seduces the hearing viewer into acknowledging the practical and emotional limitations of verbal language.
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