The third series of Coupling, first aired in 2002, takes fans of the BBC's comedy of sex, manners and modern relationships into new realms of engaging surrealism, leaving those irritating comparisons with Friends trailing in its wake. The men are constantly in pursuit of a basic grasp of the "emotional things" that make women behave the way they do. The women analyse everything to death. But thanks to Steve Moffat's scripts, tighter and quirkier than ever, these characters are living, breathing human beings rather than cynical ciphers for comedy stereotypes. The performances are as strong as you'd expect from an established team, with actors such as Jack Davenport (the ever-perplexed Steve), Ben Miles (unreconstructed chauvinist Patrick), Sally Alexander (dryly intelligent Susan) and Kate Isitt (neurotic Sally) wearing their roles like second skins. But in the surreal stakes, it's Richard Coyle as Jeff, wondering aloud what happens to jelly after women have finished wrestling in it, and Gina Bellman as Jane, musing on the importance of a first snog in identifying what men like to eat, who really raise the laughter levels. All things considered, this is superior comedy for all thirtysomethings--genuine and putative. --Piers Ford
In 1879 the British Colonies in response to the perceived threat of the Zulu Nation deliver a deliberately unacceptable ultimatum to the King who responds by putting his people on a war footing. Confident in their weapons technology and organization's ability to crush the seemingly outclassed primitive enemy the British invade Zululand. General Lord Chelmsford sends in hundreds of British troops in order to squash the spear-carrying Africans with superior fire power. The sheer number of Zulus however overwhelms the British infantry.
An epic tale of the Spanish conquest of Peru. This film will keep you glued to the screen in anticipation of the fateful ending. ""The world will remember me promises Spanish General Francesco Pizarro to the King of Spain. He tells of a land of endless gold enough to make Spain the most powerful of nations. But Pizarro is a dreamer a man of failures. The King allows him to search but at his own expense. Thus armed with a band of ruthless gold-seeking soldiers of fortune Pizarro journeys over vast mountains and harsh desert to reach Monchepechu. When faced with the life or death of the Inca God-King Atahualpa Pizarro struggles with his duty as a soldier and his loyalties to God his men and himself all of which are called into question by his fascination with the devotion and worship of the mystical man-god. Pizarro must choose between life or death and his god or another. This true epic adventure of undying faith brave yet greedy men loyalty to god king and country and one's own sense of morality hurtles towards an ending that answers humankind's hardest question ""Whose God is the real God?""
Romance never dies. Sam (Andrew Lincoln) and Baggy (Andrew Rajan) share a house in London play cricket visit the pub and watch porn. It's not much of a life but it's better than coal mining. Sam secretly wants to be a singer and has a deeper interest in his friend Alison than he's willing to admit. Baggy? He's never been able to trust a girl since his fiance jilted him at the altar - besides married women seem safer. Of course commitment is a lot harder than smoking a
This innovative and provocative dramatic musical series takes a look at the messy and compelling process that goes into the production of an original Broadway musical. It starts with a successful songwriting team portrayed by Debra Messing and Christian Borle who begin work on a new musical based on the life of Marilyn Monroe. Then comes a tenacious producer (Anjelica Huston) with something to prove. The excitement grows once casting of the title role begins. From there it's a rollercoaster ride that will culminate on opening night when the audience will determine whether or not the show is a Smash. Bonus Features: Deleted Scenes Gag reel
George and Mildred are the ultimate odd couple the popular landlord and landlady from Man About The House who became a household name with Thames Television in the 1970's and 80's. Mildred is vain snobbish and domineering; George is shy timid frigid and henpecked. Together they make a great partnership! This box set features all ten episodes from the first series. Moving On:When George and Mildred plan a move to middleclass suburbia Mildred is
Two's Company. Three's a crowd. So what do you do with six? Who do you know who is over thirty sort-of-single and has a satisfying regular sex-life? Anyone? Being single isn't easy. But at least you've got your friends. But what happens when one of your friends falls in love with one of your friends' friends? This funny up-front series about love and lust amongst thirtysomethings centres around Susan and Steve - two lively sexy funny people who get together and start going out. Featuring series 1 to 4 of the hit BBC sitcom!
Coupling Season 4: feel free to insert your own "four-play" joke, or for that matter, your own "insert" joke. Sex is still topic 1 for the intertwined group of "exes and best friends", but in this pivotal season there are momentous "relationship issues" that will upend all their lives (insert your own "upend" joke while you're at it). Susan is pregnant, inspiring in Steve nightmares about his own execution and unflattering comparisons of the birth process to John Hurt's iconic gut-busting scene in Alien. Missing in action is the Kramer-esque Jeff (although he makes something of a return in the season finale). Joining the ensemble is Oliver, who is more in the Chandler mode as a lovable loser with the ladies. These inevitable comparisons to "Sein-Friends" are no doubt heresy to Coupling's most devoted viewers. Indeed, this series does benefit from creator and sole writer Steven Moffat's comic voice and vision. He provides his ever-game cast some witty, funny-‘cause-it's-true dialogue, as in Oliver's observation that "Tea isn't compatible with porn". This Britcom is also less inhibited in language and sexual situations than its American counterparts. In the cleverly-constructed opening episode, in which the same "9-1/2 Minutes" are witnessed from three different perspectives, Sally and Jane can do what was left to the imagination when Monica and Rachel offered to make out in front of Joey and Chandler. The birth of Susan and Steven's baby ends the six-episode season on a satisfying and surprisingly moving grace note. A bonus disc takes viewers behind the scenes with segments devoted to bloopers and interviews with cast and crew. --Donald Liebenson
Practically every living Wimbledon champion has been specially interviewed for the programme from Sidney Wood victor in 1931 to Pete Sampras the current men's champion who has won more singles titles than any other player. This fascinating documentary also shows how the women's game has evolved from the era of elegance of Suzanne Lenglen to the coming of age of the game in the modern world of King Navratilova and the Williams sisters.
The basic joke of the would-be romp Without a Clue is that Dr Watson (Ben Kingsley) is a detecting genius who has had to hide his light under a bushel by hiring an alcoholic ham actor Reginald Kincaid (Michael Caine) to pose as his imaginary alter ego Sherlock Holmes. He is now frustrated because the blundering idiot is hailed as an infallible hero while he is forever being pushed out of the picture. To really work, the film should have cast a leading man who gives the impression that he might make a good serious Holmes, but Caine is all too credible in his idiot act. In one of the best jokes Watson covers up a faux pas by complementing Holmes on his convincing disguise as a drunken lout, and so the laughs that should come in a flow only manage to trickle. The actual plot is about forged bank-notes ruining the Empire but is constructed to allow for the usual excursion by picturesque steam train to a clue-ridden holiday destination and some dirty deeds down by the docks. The leads coast through their routines but the supporting cast has an appropriately rat-like and embittered Inspector Lestrade from Jeffrey Jones, a winsomely duplicitous Victorian heroine from Lysette Anthony and a rather good goateed sadist Professor Moriarty from Paul Freeman. It can't hold a magnifying glass to Billy Wilder's The Private Life of Sherlock Holmes, but as a Holmesian footnote it edges a deerstalker or so ahead of Gene Wilder's The Adventure of Sherlock Holmes' Smarter Brother. It certainly beats the Peter Cook-Dudley Moore Hound of the Baskervilles and John Cleese in The Strange Case of the End of Civilisation as We Know It.--Kim Newman
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
1971 British gangster drama VILLAIN is directed by Michael Tuchner, his feature film debut. Starring Richard Burton (Who's Afraid of Virginia Woolf) as a sadistic London gang leader inspired by Ronnie Kray, the film is based on James Barlow's 1968 book Burden of Proof. East end gang chief Vic Dakin is a violent psychopath who lives with his mother (Cathleen Nesbitt, An Affair to Remember) whilst making a living by running a prosperous protection racket. After a tip off for a potential payroll heist opportunity, Dakin starts planning the job, bringing in a gang from the criminal underworld alongside associate Wolfe Lissner (Ian McShane, John Wick). Detective Inspector Robert Matthews (Nigel Davenport, Chariots of Fire) has been tasked to arrest Dakin when he makes his first mistake and is watching his every move, determined to catch him in the act. When a gang member is hospitalised and Matthews is closing in, can Dakin silence him before he confesses all? Extras: New: Interview with Ian McShane New: Interview with cultural historian Matthew Sweet Original Trailer Behind the scenes stills gallery
During World War II, director John Ford joined the ranks of the many Hollywood actors and filmmakers whoparticipated in the war's film propaganda effort. At the behest of the United States' military, John Ford andlegendary cinematographer Gregg Toland (Citizen Kane, The Grapes of Wrath) mounted the first re-creation of the attack on Pearl Harbor in December 7th. Steeped in controversy since it's making when the War Department censored almost half the film because it was too even-handed and didn't demonise the Japanese enough.
An infant child is raised by apes after being shipwrecked off the west coast of Africa. As he grows he learns the laws of the jungle and eventually claims the title Lord of the Apes. Yet years later when he is returned to civilization as the Earl of Greystoke Tarzan (Christopher Lambert in his first English speaking role) remains uncertain as to which laws he should obey; those of man or those of the jungle...
101 Films presents 1970s sci-fi classic Phase IV (1974), a gripping and philosophical cult classic that examines humanity's place in the universe. Title 012 on the 101 Films Black Label and a UK Blu-ray debut, Phase IV is the only feature film directed by designer and filmmaker Saul Bass, this release includes his original ending, among a host of additional extras, including a bonus disc featuring the finest of the director's short films. In a sealed lab in the Arizona desert, scientists James Lesko (Michael Murphy, Manhattan) and Dr. Ernest Hubbs (Nigel Davenport, A Man for All Seasons) search for answers to an evolutionary shift in the ant population; the development of a collective intelligence and cross-species hive mentality. With humanity under threat, the scientists are faced with the choice of either communicating with or eradicating their antagonists. Extras/Episodes: New HD restoration The Original Saul Bass ending (plus optional commentary) An Ant's Life: Contextualising Phase IV Commentary with film historians Allan Bryce and Richard Holliss Theatrical trailer Saul Bass: Short Films (Disc 2) The Searching Eye (1964) Why Man Creates (1968) Bass on Titles (1977) Notes on the Popular Arts (1978) The Solar Film (1980) Quest (1984) (new HD restoration)
The first in a collection of the hottest gay shorts from the four corners of the world, 'Testosterone Volume One' will set your pulse racing. From the intense effects of first love, to a deliciously camp tale of camping trip gone horribly wrong, this colllection of four brilliant shorts is sure to stir!
The amazing true story of the world's first international super spy. The true-life adventures of Sidney Reilly a British secret agent whose 25-year spying career came to an end when he unsuccessfully tried to overthrow the Bolsheviks in post-revolutionary Russia.
Johnny Depp stars as the scandalously decadent John Wilmot, the second Earl of Rochester.
Whip-smart GP Mona Shirani (Panjabi) lives a charmed life at the heart of a loving family in London. She is however left grief-stricken when her much-loved brother is brutally murdered whilst working for a medical charity overseas. As the death brings buried family secrets to light, Mona is drawn into a tangle of betrayal, conspiracy and murder.
To condemn Dressed to Kill as a Hitchcock rip-off is to miss the sheer enjoyment of Brian De Palma's delirious thriller. Homages to Hitchcock run rampant through most of De Palma's earlier films, and this one's chock-full of visual quotes, mostly cribbed from Vertigo and Psycho. But De Palma's indulgent depravity transcends simple mimicry to assume a vitality all its own. It's smothered in thickly atmospheric obsessions with sex, dread, paranoia, and voyeurism, not to mention a heavy dose of Psycho-like psychobabble about a wannabe transsexual who is compelled to slash up any attractive female who reminds him--the horror--that he's still very much a man. Angie Dickinson plays the sexually unsatisfied, forty-something wife who's the killer's first target, relaying her sexual fantasies to her psychiatrist (Michael Caine) before actually living one of them out after the film's celebrated cat-and-mouse sequence in a Manhattan art museum. The focus then switches to a murder witness (De Palma's then-girlfriend Nancy Allen) and Dickinson's grieving whiz-kid son (Keith Gordon), who attempt to solve the murder while staying one step ahead (or so they think) of the crude detective (Dennis Franz) assigned to the case. Propelled by Pino Donaggio's lush and stimulating score, De Palma's visuals provide seductive counterpoint to his brashly candid dialogue, and the plot conceals its own implausibility with morbid thrills and intoxicating suspense. If you're not laughing at De Palma's shameless audacity, you're sure to be on the edge of your seat. --Jeff Shannon, Amazon.com
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