Although probably best remembered for the controversial and groundbreaking dramas Scum, Made in Britain and The Firm, the breadth of Alan Clarke's radical, political, innovative, inspirational work, along with his influence on generations of filmmakers, such as Gus Van Sant, Paul Greengrass, Andrea Arnold, Harmony Korine, Clio Barnard, Shane Meadows, should see him rightly regarded as one of Britain's greatest ever filmmaking talents. This long-overdue collection finally brings together all twenty-three of the surviving stand-alone BBC TV dramas that Alan Clarke directed between 1969 and 1989, including such neglected classics as To Encourage the Others, Horace, Penda's Fen, Diane, Contact, Christine and Elephant, and also includes Scum and the first ever presentation of Clarke's original Director's Cut of The Firm, assembled from his personal answer print, discovered in 2015. Among the extensive extras, which include David Leland introductions, extracts from BBC discussion shows Open Air and Tonight and newly-produced documentaries and audio commentaries, this Limited Edition 13-Disc Box Set also includes a bonus DVD of Clarke's Half Hour Story episodes, made for Associated Rediffusion during the late-60s. Extras: All BBC TV filmed productions newly remastered in HD; all VT productions newly remastered in SD Alan Clarke: Out of His Own Light (2016): multi-part documentary, featuring actors, writers and producers Arena When is a Play Not a Play?' (1978): archive BBC TV documentary exploring the impact of then-new TV plays that blurred the lines between documentary and drama Plus: Audio commentaries; Extracts from BBC TV discussion programmes Open Air and Tonight; David Leland introductions; previously-unseen Clarke material Extensive booklet with new essays by writers including Richard Kelly, David Rolinson, Lizzie Francke, Nick Wrigley, Ashley Clark and Kaleem Aftab, with an introduction by Danny Leigh and a foreword by Molly Clarke Bonus DVD including seven of Alan Clarke's Half Hour Story episodes made for Associated Redifussion: Shelter (1967), The Gentleman Caller (1967, previously considered lost), George's Room (1967), Goodnight Albert (1968), Stella (1968), The Fifty Seventh Saturday (1968) and Thief (1968, previously considered lost)
Gary Oldman is Clive Bex' Bissell, an intelligent family man with a good job, who also happens to be the leader of the notorious East London hooligan firm, the Inner City Crew. Bex plans to unite rival gangs into a national firm to take to the European Championships, but that will mean defeating Oboe's Birmingham crew and the South London Buccaneers led by arch rival Yeti (Phil Davis). As Bex's craving for violence becomes an obsession, events spiral out of control. Alan Clarke's unflinching drama courted much controversy when it was first broadcast in a toned down version on the BBC. Now, it is rightly considered a masterpiece, due in no small part to the brilliance of Oldman's central performance one of the finest of his career. Newly transferred in HD, and available on Blu-ray for the very first time, The Firm is presented here in two versions: the never-before-seen Director's Cut, which re-instates a number of bold sequences previously considered too controversial for audiences; and the original BBC TV broadcast version. The complete Alan Clarke at the BBC is also available in DVD and Blu-ray box sets from the BFI.
Geena Davis and Matthew Modine star in Renny Harlin's famous mega-budget adventure swashbuckler. It follows Morgan (Geena Davis), the daughter of a famous pirate who is on a quest to find fabled riches. Enlisting the help of William (Matthew Modine), they begin a tempestuous journey but Morgan's villainous Uncle (Frank Langella) is in hot pursuit. This glorious restoration of Cutthroat Island shows how spectacular this guilty pleasure really is. There is no other pirate film like it!
NANGER MANAGEMENT When Nan assaults a harmless charity worker for no good reason, she gets into trouble with the Police and is forced to attend anger management classes - or face a custodial sentence. KNEES UP WILMOTT-BROWN The freehold on Nan's block of flats in London's newly fashionable East End is bought up by some ruthless property developers, and all the residents join together to fight for their survival. NAN Whilst Nan's long suffering grandson Jamie is away in Africa doing voluntary work, the unfortunate Alice - from the 'Young and Old Buddy-Up Foundation' - is allocated to Nan to keep her company and cheer her up. NAN'S CHRISTMAS CAROL The Scrooge-like Nan welcomes the festive season with her usual mix of sweetness, sarcasm and expletives, causing an unwelcome visit from her late husband who warns her of some impending visitors.
Set within the world of global cybercrime Legendary’s Blackhat follows a furloughed convict and his American and Chinese partners as they hunt a high-level cybercrime network from Chicago to Los Angeles to Hong Kong to Jakarta.
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.
A new restoration of the acclaimed British period drama VERA DRAKE by BAFTA-winning filmmaker Mike Leigh (Happy-Go-Lucky, Another Year, Mr. Turner, Peterloo). London, 1950: Vera Drake (Imelda Staunton) lives with her husband Stan (Phil Davis) and their grown-up children, Sid (Daniel Mays) and Ethel (Alex Kelly). They are not rich, but they are a happy, close family. Vera cleans houses, Stan is a mechanic in his brother's garage, Sid works for a tailor and Ethel works in a factory testing lightbulbs. But selfless Vera has a side-line which she keeps secret from all of those around her: without accepting payment, she helps young women to end unwanted pregnancies. When one of these girls is rushed to hospital following an abortion, the police investigation leads to Vera and her world comes crashing down. With a phenomenal British cast also featuring Sally Hawkins, Eddie Marsan and Jim Broadbent, Vera Drake was nominated for three Academy Awards (Best Actress, Best Original Screenplay and Best Director) and won the BAFTAs for Best Original Screenplay and Best Director.
Penny Marshall's popular 1992 comedy sheds light on a little-known chapter of American sports history with its story of a struggling team in the All-American Girls Professional Baseball League. The league was formed when the recruiting of soldiers during World War II resulted in a shortage of men's baseball teams. The AAGPBL continued after the war (until 1954), and Marshall's movie depicts the league in full swing, beginning when a savvy baseball scout (Jon Lovitz) finds a pair of promising new players in small-town Oregon sisters (Geena Davis, Lori Petty). The sisters are signed to play for the Rockford Peaches near Chicago, whose new manager (Tom Hanks) is a former home-run king who wrecked his career with alcoholism. They're all a bunch of underdogs, and Marshall (with a witty script by Lowell Ganz and Babaloo Mandel) does a fine job of establishing a colorful team of supporting players including Madonna and (in her movie debut) Rosie O'Donnell. It's a conventional Hollywood sports story (Marshall's never been one to take dramatic risks) but the stellar cast is delightful and the movie's filled with memorable moments, witty dialogue and agreeable sentiment. --Jeff Shannon, Amazon.com
Snow White as youve never seen it before, in this exciting version of the much loved fairy tale Snow White is in danger from her evil stepmother
Jerry Webster (Hudson) and Carol Templeton (Day) are rival Madison Avenue advertising executives who each dislike each other's methods. After he steals a client out from under her cute little nose revenge prompts her to infiltrate his secret VIP campaign in order to persuade the mystery product's scientist to switch to her firm. Trouble is the product is phony and the scientist is Jerry who uses all his intelligence and charm to steal her heart!
Focused lightning bolts, stigmata, possession, and ancient curses become secondary in Season 3 of The X-Files as more episodes are devoted to pursuing the increasingly complex story threads. "The Blessing Way" is an explosive start, introducing the Syndicate's well-manicured man (John Neville), while Scully's sister Melissa is shot and Mulder experiences Twin Peaks-like prophetic visions. We learn of medical records of millions, including Scully, who have been experimented upon ("Paper Clip"): the fast-paced train-bound two-parter "Nisei" and "731" suggests the experiments are about alien hybridisation. Krycek turns out to be hosting an alien in the next double-act, "Piper Maru" and "Apocrypha", in which Skinner is shot by Melissa's killer. Two great one-offs outside the arc are "Clyde Bruckman's "Final Repose", a bittersweet tale of foreseeing death (featuring an Emmy-winning performance from Peter Boyle) and Jose Chung's "From Outer Space", a spoof of alien conspiracy theories through an author's investigations into abductees. --Paul Tonks
Be afraid. Be very afraid... This frightening but extremely moving and romantic horror film stars Jeff Goldblum as an over-ambitious scientist who accidentally merges with a housefly while conducting a bizarre teleporting experiment. A journalist (Geena Davis) who has fallen in love with him while covering his scientific endeavours suddenly finds herself caring for a horrific creature whose insect half gradually begins to take over.
Spike Lee's 1991 story about an interracial relationship and its consequences on the lives and communities of the lovers (Wesley Snipes Annabella Sciorra) is one of his most captivating and focused films. Snipes and Sciorra are very good as individuals trying to reach beyond the limits imposed upon them for reasons of race tradition sexism and such. Lee makes an interesting and subtle case that they are driven to one another out of frustration with social obstacles as well as pure attraction--but is that enough for love to survive? John Turturro is featured in a subplot as an Italian American who grows attracted to a black woman and takes heat from his numbskull buddies.
A collection of classic films from famed British director David Lean. Bridge On The River Kwai (1957): When British P.O.W.s build a vital railway bridge in enemy occupied Burma Allied commandos are assigned to destroy it in David Lean's epic World War II adventure The Bridge on the River Kwai. Spectacularly produced The Bridge on the River Kwai captured the imagination of the public and won seven 1957 Academy Awards including Best Picture Be
Impoverished Broadway peddler ""Apple Annie"" (Bette Davis) has a problem. Her daughter Louise (Ann-Margret) educated abroad since infancy is coming for a visit and bringing her wealthy fianc with her. The problem is that Louise has believed all her life that Annie's a wealthy dowager and the poor old woman doesn't know what to do! Enter ""Dave The Dude"" (Glenn Ford) - a big-hearted racketeer - who enlists aid to pass Annie off as a high-society grande dame so Louise can marry her fa
FBI informant William O'Neal infiltrates the Illinois Black Panther Party and is tasked with keeping tabs on their charismatic leader, Chairman Fred Hampton. A career thief, O'Neal revels in the danger of manipulating both his comrades and his handler, Special Agent Roy Mitchell. Hampton's political prowess grows just as he's falling in love with fellow revolutionary Deborah Johnson. Meanwhile, a battle wages for O'Neal's soul. Will he align with the forces of good? Or subdue Hampton and The Panthers by any means, as FBI Director J. Edgar Hoover commands? Special Features Fred Hampton for the People-Chairman Fred Hampton (Black Panther Party) was a seminal figure in the civil rights movement of the '60s who was struck down just as he was getting started. In this intimate character piece, we talk to the filmmakers and cast about why telling Hampton's story is more important than ever. Unexpected Betrayal-Arrested for impersonating an FBI agent, William O'Neal, (LaKeith Stanfield) is given an ultimatum: face jail or betray his community's trust by infiltrating the Illinois Black Panther Party. We talk to the cast and filmmakers about O'Neal's complexities and his eventual betrayal of Hampton.
In Treatment is set within the psychotherapy sessions of five patients. Featuring Paul (Gabriel Byrne) a therapist who exhibits great insight and confidence when treating his patients but crippling insecurities while counselled by his own therapist Gina (Dianne West). Adding to his list of growing concerns his wife Kate (Michelle Forbes) is overcome with feelings of neglect and resents competing for his attention. Patients undergoing treatment with Paul include a young Doctor (Melissa George) who has fallen in love with Paul a Navy pilot (Blair Underwood) re-evaluating his life after a failed mission in Iraq a teenage gymnast (Mia Wasikowska) with suicidal tendencies and a passionate couple (Josh Charles and Embeth Davidtz) who are trouble in all other areas of their lives.
When LeBron James and his son are trapped in a digital space by a rogue A.I., it's Tunes vs Goons in the higheststakes challenge of his life that will redefine the bond with his son.
Halfway through A New Nightmare Heather Langenkamp goes to visit Wes Craven to discuss resurrecting the Freddy Krueger series for one last film. Craven's script focuses on a malevolent demon that has escaped from the stories in which he was trapped because they have lost their power to scare. Sound familiar? This script-within-a-film refers, of course, to the real-life fate of the Nightmare on Elm Street series, and is an idea typical of this intelligent movie which successfully blurs the line between this horror film and its real-life production context. Langenkamp plays herself, in virtually her own life: a D-list actress unable to match the success she found in the original Nightmare on Elm Street films. She, like the rest of the cast and crew of the original films (also played by themselves--most notably Craven and Robert Englund, camping himself up as an adored celebrity and part-time "artist"), is haunted by dreams of the Freddy Krueger character. Craven's script reveals that if Freddy is not trapped within a story more powerful than the Elm Street sequels--i.e. this film--he will become real.New Nightmare is an interesting precursor to the Scream series, and it attempts to capitalise on its self-reflexivity in a similar way. The idea is that, having openly revealed that the rest of the Elm Street series were "only films", New Nightmare can then set about scaring your pants off. The biggest hindrance, however, is the Freddy character himself. Despite the fact that we are told that this is the "real" Freddy, rather than the cinematic incarnation we've seen many times before it is still difficult to shake off a persistent sensation of déja-vu. Freddy just isn't scary any more: his face looks a lot less gnarled than it used to be and even the once-terrifying claw seems to have lost its edge. Similarly, having hammered home the fact that this movie is real, those elements of the film which require a little more imagination--such as Freddy's body-stretching, the surreal scare sequences and the Gothic-fantasy finale--appear absurd. Thus, if certainly not as good as the original, New Nightmare is at least an intelligent, fresh and occasionally scary film: which makes it head and shoulders above most of its genre and certainly better than most of this series. --Paul Philpott
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