Ginger is hitch-hiking through New Mexico and is picked up by Joe who has just gone through a bitter divorce. A romantic story of opposites attracting.
It has become traditional for The X-Files to kick off each new season with a humourless conspiracy two-parter, and Season 9 is no exception: in The X Files: Nothing Important Happened Today David Duchovnys Mulder is gone, along with everything in his apartment, and Gillian Andersons Scully is mostly at home with her perhaps-telekinetic baby, which leaves the bulk of the investigation to promising new characters Doggett (Robert Patrick) and Reyes (Annabeth Gish).The A-plot features Lucy Lawless as a water-breathing terminatrix who could be an alien, a government experiment or a mermaid without it making any difference, but too much time is spent on impossible-to-follow subplots about internal FBI politics and everyones intricate backstory (if ever a release needed a "previously..." prologue, this is it). Usually, the series gets over these heart-sinking openers and livens up a bit, but this time theres a feeling that this is the end of the line for a thoroughly battered premise.Chris Carter joins Gene Roddenberry in the exclusive category of producer-creators who turn in the worst scripts for their own shows, and all the strengths of The X-Files (shivers, wit, provocative ideas) are missing in action here as the engine grinds on empty.On the DVD: The X-Files: Nothing Important Happened Today on disc arrives with two three-minute filler featurettes, focusing on Gishs character and the making of this show. The good news is that this anamorphic widescreen release is the best The X-Files has ever looked in a television format, showing that however dramatically exhausted it might be, the show remains technically impressive. --Kim Newman
Mark Twain's Beloved Story. Live Action.
This sparkling comedy was Oscar nominated. Polly (Ginger Rogers) a clerk at Merlin's Department Store is mistakenly presumed to be the mother of a young child. Outraged at Polly's unmotherly conduct David Merlin (David Niven) becomes determined to keep the single woman and 'her' baby together in this wonderful comedy of errors.
Director Paul Greengrass recounts the final moments of the ill-fated flight in this 9/11 drama.
As with earlier releases, The X-Files: Providence splices together two episodes, "Provenance" and "Providence", into a pseudo-movie. Again, the results fall way below the series average as the long-dead alien conspiracy business is flogged, with a lot of running around and ominous rumbling still not adding up to anything like an actual story. FBI agent Neal McDonaugh (of Minority Report) inexplicably survives a flaming motorcycle crash, leaving behind brass rubbings taken from an alien spaceship, then shows up and tries to murder Scully's psychokinetic baby, who is promptly kidnapped by a UFO cult. In Part 2, Scully (Gillian Anderson) and Reyes (Annabeth Gish) fend off enemies and friends within the bureau as they track down the cultists, who are having trouble with a spaceship they've dug up, and a typical pointless climax has things happen without the characters doing anything to contribute. Even at this late, post-Duchovny stage in the game, The X-Files has turned out some fine stand-alone episodes, but these dreary wallowings go a long way towards explaining why only diehards are still watching. After the child says "I made this" at the end of the credits, it's becoming very hard not to shout "well, clean it up then". On the DVD: The X-Files: Providence, as with Nothing Important Happened Today, arrives in a great-looking anamorphic widescreen transfer. There are two slight promotional "featurettes"--three-minute clips/talking heads promos focusing on the episode "Providence" and actor Cary Elwes' character. --Kim Newman
Filmed in VIDECOLOR--[explosions, drum roll, music builds to a climax]--and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a)the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audience's affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catchphrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. On this DVD: The four episodes are: "Alias Mr. Hackenbacker", "Lord Parker's 'Oliday", "Ricochet" and "Give or Take a Million". Amazon.com
Mace is a street wise ex-cop who now tracks down criminals that have jumped bail. The mayor hires him to locate and shadow the person who murdered his daughter. Mace enlists the help of Sarah a hooker and Mitch the man who was unlucky enough to have been Donna's last date and now the prime suspect in her murder. When they get close to discovering the identity of the killer they find themselves hunted by the police.
Filmed in VIDECOLOR--[explosions, drum roll, music builds to a climax]--and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a)the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audience's affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catchphrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. On this DVD: The four episodes are: "The Duchess Assignment", "Brink of Disaster", "Attack of the Alligators!" and "Martian Invasion". Amazon.com
Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here.As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood.On this DVD: The four episodes are: "The Cham Cham", "Security Hazard", "Atlantic Inferno" and "Path of Destruction".
Almost universally derided on its first release as the worst of the Star Trek movies to date, The Final Frontier might just have been the victim of bad press. Following in the wake of the massively successful fourth instalment The Voyage Home didn't help matters (notoriously, even-numbered entries are better), nor did having novice director and shameless egomaniac William Shatner at the helm. But if the story, conceived and cowritten by Shatner, teeters dangerously on the verge of being corny, it redeems itself with enough thought-provoking scenes in the best tradition of the series, and a surprisingly original finale. Granted there are a few too many yawning plot holes along the way, and the general tone is over-earnest (despite some painfully slapstick comedy moments), but the interaction of the central trio (Kirk, Spock and McCoy) is often funny and genuinely insightful; while Laurence Luckinbill is a charismatic adversary as the renegade Vulcan Sybok. The rest of the cast scarcely get a look in, and the special effects betray serious budgetary restrictions, but with a standout score from Jerry Goldsmith and a meaty philosophical premise to play around with, Star Trek V looks a lot more substantial in retrospect. Certainly it's no worse than either Generations or Insurrection, the next "odd-numbered" entries in the series. --Mark Walker
A bumper box set of classic films featuring 'The Queen' Barbara Stanwyck! Double Indemnity (Dir. Billy Wilder 1944): Director Billy Wilder and writer Raymond Chandler ('The Big Sleep') adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray) who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But of cou
Rex Allerton is a top Hollywood star and an idol of the female population. To get away from the pressure of the fans who won't leave him alone he relocates to a remote Italian village where unanticipated trouble arises when unwittingly he becomes the prize for an international lottery.
Based on the hilarious novel by Tom Sharpe and starring Grif Rhys-Jones and Mel Smith, "Wilt" is a story of a disappearance, mistaken identity and a blow-up doll.
When international diplomacy comes up short extreme measures must be taken. In the newest installment of The Art of War Agent Neil Shaw played by Naughty By Nature's sensation Treach is on a covert mission to stop North Korean terrorists from obtaining a nuclear bomb. But when the deal turns deadly Shaw is drawn into the crossfire to save a beautiful facilitator? and ends up framed for murder. Now a wanted man with only his newbie partner and the mysterious facilitator by his side Shaw must rely on his kick-ass martial arts skills and bad-ass warrior code to fight through Korea's mean streets and find the terrorists before they detonate the bomb at the United Nations peace summit. This is war and there is an art.
In his writing and directing debut Sean Penn delivers a profound picture of two very different brothers one a cop with a loving family the other a lawbreaking Vietnam vet. Both coming to terms with each other and trying to maintain the bond they shared as children.
Sonny Wexler (Burt Reynolds) a classic Hollywood producer dreaming of the respect he commanded in the past and hoping for one more shot at the big time is hanging on to the threads of his career. His last chance for glory is a script optioned from a hungry young writer (Sean Astin). Sonny feels a renewed passion about this script and a personal connection with the material. So when the writer tells Sonny he has made a deal with a hot young studio executive Damon Black (Benjamin Bratt) cutting the older man out Sonny is enraged. He vows to exercise his option before it expires in seventy two hours.
The head of the family is the one with the tail. Fall in love with the big-hearted wet-nosed star of this outrageous comedy hit from producer Ivan Reitman. With evil dognappers hot on his heels an adorable puppy named Beethoven adopts the unsuspecting Newton family - and promptly grows up into 185 pounds of romping drooling disaster-prone St. Bernard! Charles Grodin is George the none-too-thrilled father whose disdain for the cuddly canine turns to loyalty after Beethoven becomes the target of unspeakable animal experimentation. Now it's up to George to save the day in their fetching adventure.
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