Blackly comic psychodrama from director Robert Altman starring screen legends Bette Davis and Joan Crawford. Jane Hudson (Davis) found fame as child star 'Baby Jane', only to be eclipsed by her sister Blanche (Crawford) when the latter became a Hollywood glamour girl in the 1930s. Blanche's career was brought to an abrupt end by an accident for which Jane was seemingly responsible. Now the two ageing sisters live together in their Hollywood mansion, attended by their maid, Elvira (Maidie Norm...
The story, set before World War II, tells of a young woman who has fled from Russia to Paris, but secretly desires to head to America
The Chicago Cubs needed a miracle... They got Henry Rowengartner. Twelve-year-old Henry Rowengartner suffers a broken arm whilst showing off at school and is shocked to discover that with the plaster off he can now throw like a professional pitcher!
Billy Wilder directs this first-time pairing of Jack Lemmon and Walter Matthau in a brilliant comedy in which a larcenous lawyer convinces his brother-in-law to perpetrate insurance fraud. Jack Lemmon portrays Harry Hinkle a TV cameraman who gets injured by a very considerate player while working a Cleveland Browns football game. Walter Matthau is the devious lawyer Willie Gingrich who encourages the expensive lawsuit. Co-written by Billy Wilder and I.A.L. Diamond the film garnered
The second series of the award-winning BBC2 mockudrama The Office exceeded even the sky-high standards of the first. Indeed, it ventured beyond caricature and satire, touching on the very edge of darkness. Ricky Gervais was once again excruciatingly superb as David Brent, a subtly shaded modern English comic grotesque in the desperate and self-deluding tradition of Alan Partridge and Basil Fawlty. In this series, however, Brent's to-camera assertions concerning his man-management qualities and executive capabilities are seriously challenged when the Slough and Swindon branches are merged and his former Swindon equivalent Neil takes over as area manager. To compensate Brent cultivates his pathologically mistaken image of himself as an entertainer/motivator/comedian whose stage happens to be the workplace. This culminates in a comically disastrous motivational session ending with a sing-along of Tina Turner's "Simply the Best", which is greeted, typically, with stunned, appalled silence. Meanwhile, Tim, who can only maintain his sanity by teasing the priggish, puddingbowl-haired Gareth, continues to wrestle with his yearning for receptionist Dawn, a sympathetic character persisting with a relationship with a yobbish bloke about whom she still maintains unspoken reservations. As ever, it's the awkward, reality TV-style pauses and silences, the furtive, meaningful and unmet glances across the emotional gulf of the open-plan office, that say it all here. As for Brent, his own breakdown is prefaced by a moment of hideous hilarity--an impromptu office dance, a mixture of "Flashdance and MC Hammer" as Brent describes it, but in reality bad beyond description. Then, when his fate is sealed, he at last reveals himself as a humiliated and broken man in a memorable finale to perhaps the greatest British sitcom, besides Fawlty Towers, ever made. All this and Keith too. --David Stubbs On the DVD: The Office, Series 2 is a single-disc release unlike the more generous Series 1. Extra features are enjoyable nonetheless. Ricky Gervais and Stephen Merchant feature in a gleefully shambolic video diary--highlights of which include Gervais flicking elastic bands at his cowriter and taping their editor to his swivel chair. The ubiquitous Gervais also mockingly introduces some outtakes (mostly of him corpsing throughout dozens of takes) and a series of deleted scenes, notably of Gareth arriving in his horrendous cycle shorts. --Mark Walker
Security guard Harry Caine (Turturro) is desperately searching for a reason behind the murder of his wife. He spends his nights watching CCTV footage to find a face that might give him a clue. His walls are plastered with 'suspects' but when he closes in on one who might be the killer his world is turned upside down once again...
After an alien race attack, Earth prepares for a future war by recruiting the most intelligent children and training them to lead the inevitable battle.
A young teen struggles to make a decision between two vampire brothers and their supernatural lives. Soon after she discovers the truth her whole world turns upside down.
Award-winning and magical story of a young Maori girl's struggle to fulfill her destiny in a small coastal town in New Zealand.
Having made his reputation as one of the most prolific and gifted horror writers of his generation (prompting Stephen King to call him "the future of horror"), Clive Barker made a natural transition to movies with this audacious directorial debut from 1987. Not only did Barker serve up a chilling tale of devilish originality, he also introduced new icons of horror that since have become as popular among genre connoisseurs as Frankenstein's monster and the Wolfman. Foremost among these frightful, Hellraiser visions is the sadomasochistic demon affectionately named Pinhead (so named because his pale, bald head is a geometric pincushion and a symbol of eternal pain). Pinhead is the leader of the Cenobites, agents of evil who appear only when someone successfully "solves" the exotic puzzle box called the Lamont Configuration--a mysterious device that opens the door to Hell. The puzzle's latest victim is Frank (Sean Chapman), who now lives in a gelatinous skeletal state in an upstairs room of the British home just purchased by his newlywed half-brother (Andrew Robinson, best known as the villain from Dirty Harry), who has married one of Frank's former lovers (Claire Higgins). The latter is recruited to supply the cannibalistic Frank with fresh victims, enabling him to reconstitute his own flesh--but will Frank succeed in restoring himself completely? Will Pinhead continue to demonstrate the flesh-ripping pleasures of absolute agony? Your reaction to this description should tell you if you've got the stomach for Barker's film, which has since spawned a number of interesting but inferior sequels. It's definitely not for everyone, but there's no denying that it's become a semiclassic of modern horror. --Jeff Shannon
A historical epic inspired by the true events that happened in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries.
African-American and Jewish gangsters and a guy in the wrong place collide in this thriller.
Richard Ayoade returns for more awkward holidays with celebrity comedians in his offbeat travel show, to experience the most efficient 48-hour city break possible. First broadcast on Channel 4 in 2016. Ayoade explores Vienna in the company of his IT Crowd co-star Chris O'Dowd. They sample the city's finest sausages, cakes, spirits, cafes and sewers. Ayoade suffers an allergic reaction and Chris breaks something valuable. Mel Giedroyc joins Ayoade at the top of Montparnasse Tower to experience the best view of Paris, before indulging in calf's head casserole, obligatory snails, green fairy' absinthe, cookery school and an art tour. Noel Fielding shares a 48-hour break with Aoyoade in Copenhagen, where they cycle around the city, savour stunning sandwiches and Danish pastries and down pints at the Carlsberg Brewery. Greg Davies is Ayoade's travel companion in Moscow, where their appreciation of the Kremlin, St Basil's and Lenin's tomb is rudely interrupted by tanks. After eating space food at the Cosmonaut Museum they visit one of the strangest circuses on earth. Winner: Best Factual Programme RTS Midlands awards, 2017, 2016, 2015 Nominated: BATFA for Best Features, 2017
The modern-gothic original that entranced audiences and critics alike comes to 4K Ultra HD for its 30th Anniversary. THE CROW tells the tale of a young musician brutally murdered alongside his beloved fiancee, only to be risen from the grave by a mysterious crow. Seeking revenge, he battles a criminal underground that must answer for its crimes. This supernatural superhero movie from director Alex Proyas (DARK CITY) was based on the comic book series and stars Brandon Lee in his tragic final performance.
Meticulous and obsessional, DI Chandler and his unit are based in Whitechapel - an area drenched in dark history and sinister goings-on. It is where Jack the Ripper carried out his horrific crimes. It is where The Krays constructed their Empire of Crime based on sadomasochistic punishments. This series unearths a Whitechapel full of Gothic shadows, cobblestones and ancient hostelries. There's fear in the Huguenot weaving houses of Wilkes Street, and terrifying discoveries in the dark corners and rooftops around Brick Lane.Ed Buchan joins DI Chandler and hard-bitten DS Miles as their historical advisor - operating out of the bowels of the police station among musty tomes of the crime archive. Chandler is convinced crimes of the past hold the key to solving crimes of the present. The team is tested by bloody and vicious murders on their own doorstep. Do crimes such as the Thames Torso murders, HH Holmes, The Zodiac Killer and The Ratcliffe Highway murders unlock the truth? In Whitechapel history isn't dead, it's deadly.
Mal's bought an RV Park with plans for a booming family-run business, but it soon turns out that they are not going to be living the dream they hoped. Before they've even settled in, Mal discovers that the park is home to a group of eccentric residents who are not exactly thrilled to meet their new owners. Meanwhile, Jen has to learn how to survive American suburbia and the kids have to navigate a US high school. With culture clashes aplenty, life in Britain soon seems even further away than they'd thought it would. But with the support of each other and their crazy new friends, they begin to learn how to live the American dream.
Acclaimed writer Andrew Davies turns his talents to one of Charles Dickens' most brilliant novels - arguably the greatest ever depiction of Victorian London. Fresh and imaginative yet faithful to the original this thrilling fast-paced adaptation is shot with a contemporary edge. At its heart is the story of the icily beautiful Lady Dedlock who nurses a dark secret and the merciless lawyer Tulkinghorn who seeks to uncover it. The generous John Jarndyce struggling with his own past and his two young wards Richard and Ada are all caught up like Lady Dedlock in the infamous case of Jarndyce vs. Jarndyce which will make one of them rich beyond imagination if it can ever be brought to a conclusion. As Tulkinghorn digs deeper into Lady Dedlock's past he unearths a secret that will change their lives forever and which is almost as astounding as the final outcome of the Jarndyce case.
Poor Charlotte Hollis. She's been shunned by the community for decades, ever since the fateful night in 1927 when her lover was hacked apart with an axe. Her antebellum southern mansion is slated for the bulldozer, as it stands in the way of highway construction. Charlotte's only hope lies in her cousin Miriam (Olivia de Havilland), coming down from up north to help settle things. Miriam, however, has other designs. Together with her boyfriend Drew (Joseph Cotten), she embarks on a scheme to systematically drive Charlotte out of her mind (not a great leap) and get her mitts on the family fortune. From there, things only get more complicated. Charlotte puts the "gothic" in southern gothic, as a great showcase for completely bizarre, overwrought, and out-of-control performances from all involved. Agnes Moorehead plays Charlotte's loyal, dishevelled housekeeper to the hilt, with an odd inflection that calls to mind Amos and Andy more than southern gentility. As the drunken, conniving Dr. Drew, Cotten's accent is indeterminate at times, and seems to come and go. As great as the supporting players are, though, the crown goes to Bette Davis as the shrieking Charlotte, a portrait of isolation and decay stuck in a world of tragic delusions inside her crumbling mansion. De Havilland is a close second as the scheming Miriam; the scene where she slaps the holy snot out of a hysterical Charlotte is itself worth the price of admission. Mary Astor (in her last role) and Cecil Kellaway (as a kindly Lloyd's of London adjuster) put in the only performances with any restraint, acting as counterweights for the rest of the cast. Besides, you'll never get another chance to see Joseph Cotten playing the harpsichord and singing, or caked in mud and lily pads! With Robert Aldrich's claustrophobic direction, Charlotte is as Southern as a field of kudzu, and as subdued as a train wreck. --Jerry Renshaw
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