For a limited time only, Universal Pictures are re-releasing five of their most beloved Cinema Classics in cinemas around the UK. The following films will be released: Spartacus, Blues Brothers, Scar Face, The Thing and Animal House.
Veteran Shakespearean player Matheson Lang stars in a suspenseful murder mystery set amid the intrigue and power struggles of Renaissance Rome. Co-starring Eric Portman and featuring an early role for luminescent Four Feathers lead June Duprez, The Cardinal is presented here in a brand-new transfer from the original film elements in its original theatrical aspect ratio.Rome, 1570. The Cardinal, Giovanni de Medici, is at loggerheads with the brutal General Belmonte, his greatest rival. When the General commits murder and pins it on the Cardinal's young brother, it seems that the Cardinal's hands are tied for he has been told of the murder under the seal of secrecy afforded by the Confessional...SPECIAL FEATURE: Image Gallery
Edward G. Robinson stars as Enrico Bandelli in the role that made him a household name. Bandelli moves to the big city with partner in crime Joe Massara (Douglas Fairbanks Jr.) and becomes a member of Sam Vettori's Mafia gang. In spite of the urgings of pretty girl Olga Strassoff (Glenda Farell) to quit the mob Rico quickly becomes the head of the Vettori gang and with a couple of quick kills scares mob boss Arnie Lorch back to Detroit. Bandelli dubbed Little Caesar by the press is known as a boss in his own right but what goes up must come down...
While watching The Planets, be prepared to fight your way past all kinds of computer animation which makes Walking with Dinosaurs seem like the last word in realism. It seems that no solar or planetary event which ever happened (or which may or may not have happened) is worthy of mention here without recourse to lovingly detailed shots of implausible-looking collisions and explosions. These come complete with sound effects, despite the fact that there is no sound in the vacuum of space, and are enhanced by a range of colours, some of which are visible only to bees. Somehow Patrick Moore's The Sky at Night manages to convey just as much excitement with little more than a couple of diagrams and the presenter's hyperactive enthusiasm. Fortunately, this two-DVD set is redeemed by both its subject matter and its sheer scope, offering all eight 50-minute episodes of the 1999 documentary series covering the history of the solar system and humanity's age-old desire to learn its secrets. Detailed indexing and scene access makes this a convenient reference source too, so amateur astronomers everywhere can finally bin those off-air VHS copies. --Roger Thomas
One of the funniest Carry Ons ever! Who is stealing virgins and turning them into shop-window mannequins? What is the meaning of the gigantic hairy finger found at the scene of the latest crime? What clues can the mad professor or his deathly pale and impossibly buxom sister provide to the hopeless Detective Bung?
If you like big fake dinosaurs--and who doesn't?--then The People That Time Forgot is the movie for you. The third in a loosely themed trilogy of Edgar Rice Burroughs adaptations from director Kevin Connor, all of which starred Doug McClure, this one also features Patrick Wayne (son of John) as the intrepid Major Ben McBride, searching the Arctic for his lost friend (McClure). Sarah Douglas is at his side as Charly, the spunky lady photographer with a dainty puckish streak. As luck would have it, they come across a tropical zone that is home to big fake dinosaurs, surly Neanderthals and nubile cavewomen with truly astonishing cleavages. Ah, but if only it were that simple. An evil rival tribe has been exterminating the gentle cave people and must be stopped. Whatever else you may want to say about producers Samuel Z Arkoff and John Dark, they simply do not skimp on explosions. The People That Time Forgot has a detonation-filled corker of an ending that leaves the cast absolutely showered with dirt clods. Highly entertaining. --Ali Davis
Homer's epic poem telling of the siege of Troy by vengeful Greek forces after Helena is taken from them gets the lavish Hollywood treatment with an all-star cast under the direction of the respected Robert Wise.
Filmed in 1968 and set in British India in 1895, Carry On Up the Khyber is one of the team's most memorable efforts. Sid James plays Sid James as ever, though nominally his role is that of Sir Sidney Ruff-Diamond, the unflappable British Governor who must deal with the snakelike, scheming Khasi of Khalabar, played by Kenneth Williams. A crisis occurs when the mystique of the "devils in skirts" of the 3rd Foot and Mouth regiment is exploded when one of their numbers, the sensitive-to-draughts Charles Hawtrey, is discovered by the natives to be wearing underpants. Revolt is in the offing, with Bernard Bresslaw once again playing a seething native warrior. Roy Castle neatly plays the sort of role normally assigned to Jim Dale, as the ineffectual young officer, Peter Butterworth is a splendid compromised evangelist, while Terry Scott puts his comedic all into the role of the gruff Sergeant. Most enduring, however, is the final dinner party sequence in which the British contingent, with the Burpas at the gates of the compound, plaster falling all about them, demonstrates typical insouciance in the face of imminent peril. The "I'm Backing Britain" Union Jack hoist at the end, however, over-excitedly reveals the streak of reactionary patriotism that lurked beneath the bumbling double entendres of most Carry On films. On the DVD: Sadly, no extra features except scene selection. The picture is 4:3 full screen. --David Stubbs
Just when you thought it couldn't get any stranger Excel and her associates encounter the most horrifying of all devices...a sub-plot! You won't believe who's been plotting against whom as the writers double cross the author the director takes a new direction and the supporting cast comes back with a vengeance but absolutely no clue whatsoever! There's total Pedro-monium with Menchi-mania and Pedro-philia galore as everybody involved takes the fifth in Excel Saga volume 5!
Once upon a time, in a childhood land of lollipops and sleepovers, Chuck and Buck were the best of friends; their days marked out with "fun, fun, fun". The trouble is that Chuck grew up and Buck did not. When the pair are reunited at a family funeral, Chuck (now a thrusting music exec with a pert girlfriend and an apartment in the Hollywood hills) finds himself bothered and bewildered by the creepy lost boy he thought he'd left behind. "I like your house," mumbles Buck, sticking out like a sore thumb at an uptight yuppie party. "It's very old person-y." Shot on a shoestring budget by Miguel Arteta, Chuck and Buck offers a uniquely rich and strange comedy of retarded childhood. Think of this as a Peter Pan for modern-day America, or the Tom Hanks film Big viewed through a glass darkly. The slender premise contains deep pockets of ambiguity. After all, who's the real victim here? The harassed Chuck (played by American Pie co-creator Chris Weitz) or the spurned, saucer-eyed Buck (Mike White, who also wrote the script)? And who is the hero: the successful, status-conscious professional or the dopey, tearful wild card? Throughout the tale, you find your sympathies swinging back and forth between them. Make no mistake, Chuck and Buck is alive with hilarious, often horrific set-pieces. Yet Arteta's direction keeps it on a tight leash, prevents it from descending to the level of a simple freak-show. Instead his film blossoms from an odd-couple farce into a drolly provocative (and oddly humane) portrait of that shadow period between infancy and adolescence. White's character comes across as a very human kind of movie monster. Resplendent in stripy T-shirt, Buck is Chuck's conscience, his id, the ghost of childhood come back to haunt him. --Xan Brooks
In The Desert Ratshis second Hollywood role--between Oscar-nominated turns in My Cousin Rachel and The Robe--Richard Burton stars as a Scottish commando put in charge of a battalion of the Ninth Australian Division defending Tobruk. The Aussies don't like him, and with a year of grim North African duty already under his belt, he's not too crazy about his new responsibilities either. The outfit is charged with staving off the battering assaults of Field Marshal Erwin Rommel for two months to give the British Army time to regroup in Cairo and prepare for a counterattack. In the end, the "Desert Rats" play hell with the Desert Fox for 242 days, during which they and their commander develop some mutual respect.This is a solid, workmanlike World War Two picture that, having been made in 1953 rather than 1943, can acknowledge a degree of eccentric humanity and soldierly professionalism in the enemy. Featured guest star James Mason reprises his Rommel from The Desert Fox (1951)--playing all his scenes in German except for a scene of ironical repartee with Burton. Another distinguished Brit, Robert Newton, gets co-star billing as a boozy, self-confessed coward who used to be Burton's schoolmaster once upon a time. However, a goodly number of Australians--including Chips Rafferty and Charles "Bud" Tingwell (still going strong nearly 50 years later in Paul Cox's wonderful Innocence)--rate as much screentime. Robert Wise directed, with a trimness that reminds us he started out as an editor, and Lucien Ballard provides the pungent black-and-white cinematography. --Richard T Jameson, Amazon.com
'Last Train From Gun Hill' is the ultimate revenge tale set in an unlawful Old West... The Marshal's trail to find his wife's murderer leads him to the town of Gun Hill where he discovers the son of an old ally is responsible for the crime. A dangerous game of cat-and-mouse unfolds as the Marshall is trapped in a race against time to avenge his wife's death before he can catch the last train out of town...
Sumptuous in every way, visually magnificent, with grandiose sets, panoramic Spanish vistas and intricately detailed costumes, possessor of one of cinema's greatest music scores, boasting vast and astonishingly kinetic battles, and breathing heroic virtue in every scene, El Cid is the very epitome of epic. For this reworking of the medieval legend of the Cid (Arabic for "Lord") who united warring factions and saved 11th-century Spain from invasion, producer Samuel Bronston and director Anthony Mann insisted every set had to be created from scratch, every costume specially made for this movie alone; they also shot entirely on location in La Mancha and along the Mediterranean coast of Spain to enhance the film's authenticity. The cinematography is saturated with the burnished hues of the Spanish landscape, as are the palatial sets and rich costumes; Miklos Rozsa's resplendent score is also the result of painstaking research into medieval Spanish sources. The screenplay is imbued with knightly gravitas and more than a little salvation imagery, from the opening scene of the young Rodrigo rescuing a cross from a burning church, to the movie's indelible finale as The Cid rides "out of the gates of history into legend".Charlton Heston is at his most indomitable as Rodrigo, "The Cid", a natural leader of men and the embodiment of every manly virtue (note that he fathers twins--a sure token of his virility); Sophie Loren is ravishing as Chimene, the woman whose love for Rodrigo conflicts with her filial instincts after he kills her father, the king's champion, over a point of honour. Their scenes together create a humane warmth at the heart of this vast movie: the moment when Chimene finally declares her love (beneath a shrine of three crosses--more symbolism) to the exiled Rodrigo forms a pivotal and very intimate centrepiece. Shortly thereafter he must rise from their rural marriage bed to lead his followers into battle, and the tension between his public and private lives adds a piquancy to the film's stunning battle sequences. The international supporting cast sometimes look like makeweights, especially when chewing on the occasionally stilted dialogue, but any such faults are easily forgiven as the scale and spectacle of El Cid carries the viewer away on a tide of chivalry.On the DVD: This disc is a sadly missed opportunity to present a classic epic in its original form. Although formatted for 16:9 widescreen TVs, which initially gives hope that this might be an anamorphic widescreen presentation, only the opening and closing titles appear in the correct cinematic ratio. Otherwise this is essentially the same picture as the pan & scan VHS version with the same poor print quality. Since a restored 35mm print of El Cid has been shown at cinemas and on TV in recent years there seems to be no excuse for this cut-down presentation. Add some decidedly minimal extras and the result is a disappointing disc. --Mark Walker
A chronicle of Whitney Houston's rise to fame and turbulent relationship with husband Bobby Brown.
Reese Witherspoon stars as the most calucating, funny and manipulative anti-heroine of English literature in a big-screen version of William Thackeray's classic novel.
In this thrill-packed sequel to Romancing the Stone Joan (Kathleen Turner) and Jack (Michael Douglas) are back in the fast lane on a perilous trek through the North African Desert. Not even treacherous tribes deadly dungeons and dangerous villains can stop them from finding once and for all that mysterious jewel.
"Family Guy" revolves around the Griffin family and their madcap adventures.
Set amongst the privileged elite of Oxford University The Riot Club follows Miles (Max Irons) and Alistair (Sam Claflin) two first year students determined to join the infamous Riot Club where reputations can be made or destroyed over the course of a single evening. The Riot Club is directed by Lone Scherfig who most recently helmed ‘One Day’ and the Best Picture Academy Award nominee ‘An Education’. It is produced by Pete Czernin and Graham Broadbent of Blueprint Pictures (‘The Best Exotic Marigold Hotel’ ‘Seven Psychopaths’). Screenwriter Laura Wade has adapted her critically-acclaimed play ‘Posh’ with development support from the BFI Film Fund and Film4. 'Posh' premiered at the Royal Court Theatre in London in 2010 before transferring to the West End.
Taken from the first television series this finds a former Army sergeant returning home to an economically depressed Gallowshields in Tyneside at the end of World War One. But this sergeant always lands on his feet...
Ryan Phillippe stars as Milo, an idealistic computer genius who is recruited by a large corporation run by his personal hero (Tim Robbins). However as time goes on Milo begins to suspect that his hero will stop at nothing to succeed.
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