Though it was pre-produced by Martin Scorsese, who left the project after arguments with the producers, The Honeymoon Killers wound up being written and directed by Leonard Kastle, one of cinema's great one-hit wonders. The Henry: Portrait of a Serial Killer of 1969, The Honeymoon Killers follows hefty nurse Martha Beck (Shirley Stoler, who looks like a humourlessly malevolent Roseanne) and her low-rent gigolo lover Raymond Fernandez (Tony Lo Bianco) as they take up serial murder for profit and passion, luring middle-aged women into marriage through lonely-hearts ads, then killing them and raiding their savings. Based on a genuine crime case history, it is filmed in the candid-camera style of a Frederick Wiseman documentary. The intense scenes (such as the couple's frightening love-play: escalating arguments that end in awkward killings) unfold with a fly-on-the-wall dryness, showcasing the extraordinary acting of the leads and their cameo victims. A rare film in which genuine romantic love does not excuse the central couple's amoral behaviour, this still manages to generate some sympathy for the truly monstrous Martha. The washed-out black and white photography and sometimes scratchy soundtrack (the score is sampled from Mahler) have a deliberately amateurish feel which adds to the film's chilling power, lodging it into the memory. On the DVD: Along with a lurid trailer and gallery of images are filmographies for Stoler, Lo Bianco and (redundantly) Kastle. The widescreen transfer is excellent, representing perfectly the film's rough-hewn look but also bringing out a lot of detail--like Stoler's freckles, which have looked like grain on video releases. --Kim Newman
Though it was pre-produced by Martin Scorsese, who left the project after arguments with the producers, The Honeymoon Killers wound up being written and directed by Leonard Kastle, one of cinema's great one-hit wonders. The Henry: Portrait of a Serial Killer of 1969, The Honeymoon Killers follows hefty nurse Martha Beck (Shirley Stoler, who looks like a humourlessly malevolent Roseanne) and her low-rent gigolo lover Raymond Fernandez (Tony Lo Bianco) as they take up serial murder for profit and passion, luring middle-aged women into marriage through lonely-hearts ads, then killing them and raiding their savings. Based on a genuine crime case history, it is filmed in the candid-camera style of a Frederick Wiseman documentary. The intense scenes (such as the couple's frightening love-play: escalating arguments that end in awkward killings) unfold with a fly-on-the-wall dryness, showcasing the extraordinary acting of the leads and their cameo victims. A rare film in which genuine romantic love does not excuse the central couple's amoral behaviour, this still manages to generate some sympathy for the truly monstrous Martha. The washed-out black and white photography and sometimes scratchy soundtrack (the score is sampled from Mahler) have a deliberately amateurish feel which adds to the film's chilling power, lodging it into the memory. On the DVD: Along with a lurid trailer and gallery of images are filmographies for Stoler, Lo Bianco and (redundantly) Kastle. The widescreen transfer is excellent, representing perfectly the film's rough-hewn look but also bringing out a lot of detail--like Stoler's freckles, which have looked like grain on video releases. --Kim Newman
Family comedy based on the 1920s silent film and the 1930s talkie series featuring Spanky (Jet Jurgensmeyer), Alfalfa (Drew Justice), Buckwheat (Isaiah Fredericks), Darla (Eden Wood), Stymie (Connor Berry), Porky (Camden Gray) and Petey the dog. This time around the rascals are working together to raise the money needed to save their grandma (Doris Robert)'s bakery, but their improvised fundraising schemes are largely unsuccessful. It seems like their only hope is to enter a local talent competition...Technical Specs: Anamorphic (16:9)Languages(s): EnglishHard of Hearing Subtitles: EnglishInteractive MenuScreen ratio 1:1.78
It's summer vacation, but the Pearson family kids are stuck at a boring lake house with their nerdy parents. That is until feisty, little, green aliens crash-land on the roof, with plans to conquer the house AND Earth! Using only their wits, courage and video game-playing skills, the youngsters must band together to defeat the aliens and save the world - but the toughest part might be keeping the whole thing a secret from their parents! Featuring an all-star cast including Ashley Tisdale, A...
"Aliens in the Attic" is an adventure/comedy about kids on a family vacation who must fight off an attack by knee-high alien invaders with world-destroying ambitions while the youngsters' parents remain clueless about the battle.
The story of Lionel the first man ever to get pregnant who soon goes from unknown to celebrity when he is diagnosed! Soon everyone's trying to cash in on his act including the president! But will his fiancee and his mother EVER recover from the shock!
Though it was pre-produced by Martin Scorsese, who left the project after arguments with the producers, The Honeymoon Killers wound up being written and directed by Leonard Kastle, one of cinema's great one-hit wonders. The Henry: Portrait of a Serial Killer of 1969, The Honeymoon Killers follows hefty nurse Martha Beck (Shirley Stoler, who looks like a humourlessly malevolent Roseanne) and her low-rent gigolo lover Raymond Fernandez (Tony Lo Bianco) as they take up serial murder for profit and passion, luring middle-aged women into marriage through lonely-hearts ads, then killing them and raiding their savings. Based on a genuine crime case history, it is filmed in the candid-camera style of a Frederick Wiseman documentary. The intense scenes (such as the couple's frightening love-play: escalating arguments that end in awkward killings) unfold with a fly-on-the-wall dryness, showcasing the extraordinary acting of the leads and their cameo victims. A rare film in which genuine romantic love does not excuse the central couple's amoral behaviour, this still manages to generate some sympathy for the truly monstrous Martha. The washed-out black and white photography and sometimes scratchy soundtrack (the score is sampled from Mahler) have a deliberately amateurish feel which adds to the film's chilling power, lodging it into the memory. On the DVD: Along with a lurid trailer and gallery of images are filmographies for Stoler, Lo Bianco and (redundantly) Kastle. The widescreen transfer is excellent, representing perfectly the film's rough-hewn look but also bringing out a lot of detail--like Stoler's freckles, which have looked like grain on video releases. --Kim Newman
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