Experience Clint Eastwood's iconic Western in 4K Ultra HD. Josey Wales is a simple farmer in Missouri. When a vicious band of Union Red Legs, led by Terrill, burns his home to the ground, killing his wife and son, Wales joins a gang of Confederate raiders, determined to get revenge.
Joseph Mankiewicz's moody classic is less ghost story than romantic fantasy, a handsome 1947 drama of impossible love. Independent young widow Lucy Muir (the luminous Gene Tierney), desperate to escape her uptight in-laws, falls in love with a grand seaside house and moves in, only to discover the cantankerous ghost of the hot-tempered Captain Gregg (a histrionically flamboyant performance by Rex Harrison). Lucy refuses to let the bombastic captain frighten her away, earning his respect, his friendship, and later his love. They team up to turn the captain's salty memoirs into a bestseller, but as his affection grows he fades away, leaving Lucy free to undertake a more worldly suitor, notably a charismatic children's author (George Sanders at his smarmy smoothest) with his own guarded secret. Charles Lang's melancholy black-and-white photography and Bernard Herrmann's haunting score set the tone for this sublime adult drama, and Tierney delivers one of her most understated performances as the resolute Mrs. Muir. Mankiewicz turns this ghost story into a refreshingly mature and down-to-earth romance. --Sean Axmaker
One of the cinema's great disappearing acts came to a close with the release of The Thin Red Line in late 1998. Terrence Malick, the cryptic recluse who withdrew from Hollywood visibility after the release of his visually enthralling masterpiece Days of Heaven (1978), returned to the director's chair after a 20-year coffee break. Malick's comeback vehicle is a fascinating choice: a wide-ranging adaptation of a World War II novel (filmed once before, in 1964) by James Jones. The battle for Guadalcanal Island gives Malick an opportunity to explore nothing less than the nature of life, death, God, and courage. Let that be a warning to anyone expecting a conventional war flick; Malick proves himself quite capable of mounting an exciting action sequence, but he's just as likely to meander into pure philosophical noodling--or simply let the camera contemplate the first steps of a newly born tropical bird or the sinister skulk of a crocodile. This is not especially an actors' movie--some faces go by so quickly they barely register--but the standouts are bold: Nick Nolte as a career-minded colonel, Elias Koteas as a deeply spiritual captain who tries to protect his men, Ben Chaplin as a G.I. haunted by lyrical memories of his wife. The backbone of the film is the ongoing discussion between a wry sergeant (Sean Penn) and an ethereal, almost holy private newcomer (Jim Caviezel). The picture's sprawl may be a result of Malick's method of "finding" a film during shooting and editing, and in some ways The Thin Red Line seems vaguely, intriguingly incomplete. Yet it casts a spell like almost nothing else of its time, and Malick's visionary images are a challenge and a signpost to the rest of his filmmaking generation. --Robert Horton
Originally airing 20 years ago in 1984 this season sees Sam (Ted Danson) and Diane (Shelley Long) face the break-up of their explosive relationship - a predicament that brings the new character of Frasier Crane (Kelsey Grammar) into the show's comedic mix. Along with the usual laughs provided by the antics of Carla (Rhea Perlman) Cliff (John Ratzenberger) and Norm (George Wendt) this series also says farewell to actor Nicholas ""Coach"" Colosanto whose untimely death occurred shor
The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star and fifth as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendours, of frontier life. During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. This is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T Jameson
Those who survive the ghost ship are better off dead! A cruise ship heading for the Caribbean crashes by a mysterious vessel leaving seven plucky survivors to crawl onboard the unholy ghost ship. Soon they find they're on heading for an unknown destination with something hellbent on destroying them all!
Following the events of First Blood and three years into his prison sentence, Vietnam veteran John Rambo (Sylvester Stallone) is offered a pardon in exchange for accepting a perilous mission: infiltrating communist Vietnam under deep cover to hunt for evidence of missing American servicemen. His CIA handler Marshall Murdock (Charles Napier) insists that it is merely a reconnaissance operation. Do not engage the enemy, Rambo is ordered, Just take pictures. After a disastrous parachute drop, Rambo is left stranded in the jungle with only his combat knife and bow and arrows to protect him Features: Rambo takes the 80s Part 2 We get to win this time Action in the Jungle Sean Baker - Fulfilling a Dream Behind the Scenes Original Trailer
Dutiful cavalry officer Nathan Brittles (John Wayne) is reluctant to retire in the face of an imminent Native American uprising. His last official task is to escort the commander's wife and her niece to the Sudrow's Wells stagecoach stop but it proves to be a journey fraught with danger. This film the second in John Ford's cavalry trilogy is a masterpiece of the cinema and is acclaimed as one of the greatest Westerns ever made.
First screened on BBC2 in 1978, at a time when the standing of The Beatles was at its lowest, The Rutles--All You Need is Cash is the original and (pace This is Spinal Tap) best "rockumentary" spoof. Codirector Eric Idle was then enjoying success with Rutland Weekend Television, while his script displays the same feeling for the inane non-sequitur evident in his Monty Python work. The band's progress from "penniless, untalented nobodies" to "rich, untalented somebodies" is vividly brought to life--with dialogue adapted from actual Beatles interviews and newsreels, and a roster of songs sounding uncannily close to Beatles originals thanks to "Nasty" Neil Innes' genius for pastiche. Interviews with a suitably primed Mick Jagger and Paul Simon give added realism, as do cameos from George Harrison (one-time Beach Boy Rikki Fataar plays his Rutles double Stig) and Stones guitarist Ron Wood. Dan Ackroyd and John Belushi make characterful, pre-Blues Brothers appearances. On the DVD: The Rutles--All You Need is Cash has come up well in this DVD transfer. The fullscreen 4:3 ratio picture and mono sound wear their age well, enhanced by the extra scenes included. There's further interview material with Jagger and Simon, and a specially recorded, though wholly unfunny, DVD introduction from Idle, who also contributes a running commentary. All in all, this is an ideal way to get to know, or renew acquaintance with, a film that brings the swinging 60s back down to earth. --Richard Whitehouse
Classic westerns collection of 3 Blu-ray discs starring Clint Eastwood in 1080p High Definition.
All 5 series of the hit BBC show, collected for the first time in this DVD set. Includes subtitles for the Hard Of Hearing
It looks great: season two of the situation comedy many consider the best ever produced on American television has a superb presentation on this DVD collection. The colours are rich, the images sharp--a vast improvement over those murky reruns in perpetual TV syndication. Then, of course, there are the consistently brilliant episodes from Cheers' sophomore year. Despite its low-rated debut in 1982, the ensemble farce set in a Boston bar confidently returned with several strong story arcs, including the turbulent, screwball romance between intellectual poseur Diane Chambers (Shelley Long) and affable primitive Sam Malone (Ted Danson), romantic conflicts for the sexually voracious and deeply cynical barmaid Carla (Rhea Perlman) and marital separation for beloved barfly Norm (George Wendt). With John Ratzenberger signing on as a full-time cast member (playing pompous jive-slinger and postman Cliff Claven), and those opaque one-liners by the clueless Coach (Nicholas Colasanto), Cheers was firing on all cylinders. Episode highlights include "They Call Me Mayday", in which talk-show personality Dick Cavett, playing himself, convinces Sam the public would be interested in the former major league pitcher's autobiography--a notion that throws the unpublished, would-be novelist Diane into disbelief. Also wonderful is "Where There's a Will," guest-starring George Gaynes as a rich, dying man who leaves the gang $100,000 on a paper napkin will. "No Help Wanted" finds Sam's friendship with down-on-his-luck accountant Norm strained when the latter has a go at the bar's books, while the great "Coach Buries a Grudge" features the addled, elder statesman of Cheers delivering a memorable eulogy for a friend after discovering the dead man had an affair with his wife. Opinions vary about the worthiness of Cheers' latter years (the show ended in 1993), but no one disputes the merit of its ground-breaking start. --Tom Keogh
Series 1: Abby Wallace (Collins) her two children and her best friend Kenny (Kaye) move to a secluded island where they try to fit in with an initially suspicious local population. What complicates matters further is that Kenny loves the children and Abby but oblivious she explores other amorous options on the island... Series 2: 2000 Acres Of Sky continues with eight more episodes from this very popular Drama Series. Can a beautiful friendship turn to romance? In
During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendors, of frontier life. Though it's been honoured with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T. Jameson
Only Oscar-winning writer-director Alexander Payne (Sideways) would think to cast the famously handsome George Clooney as a dishevelled dad in his outstanding adaptation of Kaui Hart Hemmings's tragicomic novel. Clooney dials down the glamour to play Matt King, a Hawaii real-estate attorney with a propensity for unflattering shirts and ill-fitting trousers. When Matt's wife, Elizabeth, ends up in a coma after a water-skiing accident, Matt must learn to balance the parenting of his resentful daughters, Scottie (Amara Miller) and Alexandra (Shailene Woodley, The Secret Life of the American Teenager), with the sale of a pristine plot of Kauai land that stands to make the King cousins, including scruffy Hugh (Beau Bridges), a fortune. As Elizabeth's condition worsens, Matt contacts friends and relatives, like her fiercely protective father (Robert Forster), so that they'll have the chance to say goodbye. In the process, he finds out she was having an affair with realtor Brian Speer (Matthew Lillard, effectively cast against type), so he and the girls, including Alex's hilariously mellow friend, Sid (Nick Krause), go on an island-hopping trip, ostensibly to add Brian to the mix, but Matt really wants to find out what his wife saw in the guy. His journey from naiveté to knowledge brings out Clooney's soulful side, creating a believably flawed, deeply sympathetic figure. If Payne leans too heavily on the slack-key soundtrack, his love for his characters, including Judy Greer as Matt's female counterpart, results in his most emotionally satisfying movie to date. --Kathleen C. Fennessy
A Civil War tale based on the exploits of the notorious outlaw Quantrill. The Duke plays a U.S. Marshal out to stop the cutthroat raider and his band. Based on the novel by W.R. Burnett.
This film, which again pairs Richard Gere and Kim Basinger (who starred in 1986's No Mercy), offers up elements of classic noir: a hapless man becomes intimately involved with a beautiful blonde who may or may not be who or what she appears to be. Dedicated psychiatrist Isaac Barr (Gere) reluctantly, and then more obsessively, becomes involved with Heather Evans (Basinger), the sister of his patient, Diana Baylor (Uma Thurman). Evans is unhappily married to a gangster (appropriately played by a muscular and menacing Eric Roberts in a trademark role). Gere and Basinger make a credible, if dangerous couple, and Thurman delivers a subtle, understated performance and demonstrates her range and potential. The thriller is appropriately shot in gorgeous San Francisco, where the literal and figurative curving and hilly roads wind throughout. Credit legendary art director Dean Tavoularis for some amazing sets and scenes, notably the elegantly cavernous restaurant where Evans and her husband have a fateful dinner. This film is, in a way, glossy director Phil Joanou's Hitchcockian tribute--as a climactic lighthouse scene best demonstrates. Final Analysis doesn't offer an intimate look at its characters, but a beautifully stylized one, moody and gloomy. The intricate plot experiments with the device of "pathological intoxication," in which the subject completely loses control after drinking alcohol. And this doesn't mean a conventional ugly drunk; it means a frightening psychotic. Good and evil, hope and despair, beauty and repulsion are often juxtaposed in the film's complex world. --NF Mendoza
After Rocky and its sequels, Sylvester Stallone cast about for another character that would bring him the same kind of box-office hit--and found it in disillusioned Vietnam vet John Rambo in First Blood, a solid little action thriller. So when all else failed, Stallone went back to the same well in hopes of recapturing the same commercial success. Which this film did. But where First Blood was a no-nonsense thriller that pitted Stallone against a worthy (and not necessarily bad) Brian Dennehy, this one is a sadistic chest-thumper in which Rambo gets to go back to Vietnam: ostensibly, he is there to rescue missing POWs, but in fact the movie was a lame excuse for him to refight the Vietnam War--and win. Audiences ate up the cruel Vietcong (and their Russian manipulators) and Stallone's bogus heroics, but it was strictly by-the-numbers action. --Marshall FineThe Rambo trilogy is also available on DVD as a complete set.
Includes subtitles for the Hard Of Hearing
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