Wild Geese 2
Where the Angels ride, mayhem follows. A hard-living band of bikers, they live by the rules of the road... and a fiercely loyal code of honor. But when they cross paths with the Dragon - a rival biker gang they find their loyalty tested and their lives on the line in wake of a violent act that leaves a young, hippie woman murdered. Product Features Subtitles Still Gallery
COOKIE'S FORTUNE mischievously uncovers the legacy of JEWEL MAE
In 1980, Randal Kleiser's remake of The Blue Lagoon had its critics well and truly divided. On the one hand adolescent nudity, however tasteful, was enough to give the censors the vapours. On the other, the story--essentially a reworking of Robinson Crusoe based on Stacpoole's Edwardian adventure novel with two young children as the castaways growing up on a desert island--seemed just too removed from reality. Kleiser set out to make "the ultimate South Seas film", and indeed the location shooting is a richly beautiful complement to the intimate tale of two young people coming to terms with their own adulthood. He teases out touching performances from Brooke Shields (Emmeline) and Christopher Atkins (Richard) as the marooned pair, and a nicely ambivalent cameo from Leo McKern as Paddy, the ship's cook who gets them set up on the island before rum gets the better of him. A stilted script helps none of them. But the moments of awkward self-discovery and dawning sexuality are handled with a tenderness which ultimately triumphs over some of the more implausible elements: Shields' perpetually manicured nails, for example, or the fact that she unexpectedly gives birth without breaking sweat. To say nothing of the pair's extraordinary home-building skills, which would have been beyond the remit of the average Edwardian governess to teach. Today, for all its efforts to be taken seriously as a tale of preserved innocence and discovery, it succeeds best as a good old-fashioned adventure. On the DVD: This widescreen presentation positively bulges with extras. A choice of director's commentaries means that you can hear Randal Kaiser (who had previously directed Grease) reminiscing in fine detail with writer Douglas Day Stewart, and both Brooke Shields and Christopher Atkins. Some might think this overkill for a non-landmark film, but the discussions are genuinely interesting. The film was clearly a formative experience in Shields' adolescent career --she has also provided an album of personal snapshots as another extra--and it is fascinating to hear her talk about it from her current position as a star of sophisticated television sitcom. The crystal-clear digital remastering and anamorphic stereo picture and sound quality of the main film don't extend to this scratchy, sometimes inaudible documentary. --Piers Ford
The Morrison's Hotel hides many secrets and the unassuming and dedicated butler, Albert (Glenn Close), is just one of them. In 19th Century Ireland, with employment for women scarce, a young impoverished girl made a radical decision to masquerade as a man to ensure her survival. Many years later, her four walls come crashing down as secrets are uncovered leading to tension, drama, heartache and tragedy.
A terrifying tale of survival in a crocodile inhabited mangrove swamp.
When Steve Emery arrives in Trinidad at the urgent request of his brother he is stunned to find that his brother has not only been murdered but that his brother's wife Chris is succumbing to the seduction attempts of the murderer. His feelings are further exacerbated when he discovers that he too is becoming strongly attracted to Chris who is a steamy cabaret singer. She in turn is playing off one against the other while betraying the secrets of both men to the police for whom she is secretly working.
Full review featuring highlights and footage from the 2020 British Superbike Championship. Among the competitors were Josh Brookes, Jason O'Halloran and Christian Iddon.
There's a satisfying sense of closure to the definitive noir kick achieved in The Big Heat: its director, Fritz Lang, had forged early links from German expressionism to the emergence of film noir, so it's entirely logical that the expatriate director would help codify the genre with this brutal 1953 film. Visually, his scenes exemplify the bold contrasts, deep shadows, and heightened compositions that define the look of noir, and he matches that success with the darkly pessimistic themes of this revenge melodrama. The story coheres around the suicide of a crooked cop, and the subsequent struggle of an honest detective, Dave Bannion (Glenn Ford), to navigate between a corrupt city government and a ruthless mobster to uncover the truth. Initially, the violence here seems almost timid by comparison to the more explicit carnage now commonplace in films, yet the story accelerates as its plot arcs toward Bannion's showdown with kingpin Lagana (Alexander Scourby) and his psychotic henchman, the sadistic Vince Stone, given an indelible nastiness by Lee Marvin. When Bannion's wife is killed by a car bomb intended for the detective, both the hero and the story go ballistic: suspended from the force, he embarks on a crusade of revenge that suggests a template for Charles Bronson's Death Wish films, each step pushing Lagana and Stone toward a showdown. Bodies drop, dominoes tumbled by the escalating war between the obsessed Bannion and his increasingly vicious adversaries. Lang's disciplined visual design and the performances (especially those of Ford, Marvin, Jeanette Nolan as the dead cop's scheming widow, and Gloria Grahame as Marvin's girlfriend) enable the film to transcend formula, as do several memorable action scenes--when an enraged Marvin hurls scalding coffee at the feisty Debby (Grahame), we're both shattered by the violence of his attack, and aware that he's shifted the balance of power. --Sam Sutherland
Spencer Tracy's last performance was in this well-meaning, handsome film by Stanley Kramer about a pair of white parents (Tracy and Katharine Hepburn) trying to make sense of their daughter's impending marriage to an African American doctor (Sidney Poitier). Guess Who's Coming to Dinner has been knocked over the years for padding conflict and stoking easy liberalism by making Poitier's character in every socioeconomic sense a good catch: but what if Kramer had made this stranger a factory worker? Would the audience still find it as easy to accept a mixed-race relationship? But there's no denying the drawing power of this movie, which gets most of its integrity from the stirring performances of Tracy and Hepburn. When the former (who had been so ill that the production could not get completion insurance) gives a speech toward the end about race, love and much else, it's impossible not to be affected by the last great moment in a great actor's life and career. --Tom Keogh
James Cameron wrote the script for this not-so-futuristic science fiction tale about a former vice cop (Ralph Fiennes) who now sells addicting, virtual reality clips that allow a user to experience the recorded sensations of others. He becomes embroiled in a murder conspiracy, tries to save a former girlfriend (Juliette Lewis), and has a romance with his chauffeur and bodyguard (Angela Bassett). Cameron's ex-wife, director Kathryn Bigelow (Point Break), brought the whole, busy, violent enterprise to the screen, and while the film's socially relevant heart is in the right place, its excesses wear one out. Some of the casting doesn't quite click either: Fiennes isn't really right for his nervous role, and Lewis is annoying (and unbelievable as the hero's much-yearned-for former squeeze). Expect some ugly if daring moments with the virtual reality stuff. --Tom Keogh, Amazon.com
Poor Charlie Brown. He can't fly a kite, and he always loses in baseball.!Having his faults projected onto a screen by Lucy doesn't help him much either. Against the sage advice and taunting of the girls in his class, he volunteers for the class spelling bee.....and wins! Next, it's the school spelling bee. Once again, a winner! Good grief! Now the pressure is on as he is off to New York City for the televised national spelling bee. With Snoopy and Linus present for moral support, can Charlie Brown spell his way to a national championship? Written by 'Peanuts' creator Charles M. Schulz, this is the first full-length feature version of the adventures of Charlie Brown and the rest of the 'Peanuts' gang, including Snoopy, Peppermint Patty, Pig Pen and Linus.
Based on Thomas Harris's novel, Jonathan Demme's terrifying adaptation of Silence of the Lambs contains only a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat) and he hasn't forgotten the significance of tone, atmosphere and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. --Tom Keogh, Amazon.com On the DVD: On disc one, the film itself looks clinically sharp in a faultless widescreen (1.85:1) anamorphic transfer, while the Dolby 5.1 soundtrack makes the most of the chilling sound effects and Howard Shore's masterfully understated score. Unlike the Region 1 Criterion Collection, however, there is no audio commentary at all. On the second disc, the all-new hour-long "making-of" documentary features contributions from the screenwriter, producer, composer, costume designer, make-up effects people and even the moth wrangler ("There were no moths harmed in the filming!") as well as Ted Levine (Buffalo Bill) and Anthony Hopkins, who talks at length about creating Lecter. Conspicuous by their absence are Jonathan Demme and Jodie Foster. Aside from the usual trailers and stills gallery there are 21 deleted scenes, many of which are not whole scenes but deleted excerpts, a promotional featurette made in 1991 and an outtakes reel that proves the cast really did have fun making this scary picture. For those who want to scare all their friends, there's also an answerphone message from Anthony Hopkins "in character". --Mark Walker
James Stewart stars as a Virginia farmer during the Civil War. He refuses to support the Confederacy because he is opposed to slavery yet he will not support the Union because he is deeply opposedito war. When his son is taken prisoner Stewart goes to search for the boy. Seeing first-hand the horrors of war he is at last forced to take his stand...
The story tells of fictional hit 'reality TV' show "The Contenders", which selects six people at random to kill one another until a lone champion survives!
A woman disappears. Four marriages are drawn into a tangled web of love, deceit, sex and death. Not all of them will survive.
Based on Federal Agent Frank J Wilson's pursuit of Al Capone, The Undercover Man is a noir classic from one of its master directors, Joseph H Lewis (Gun Crazy, The Big Combo). Glenn Ford (The Big Heat) plays a treasury agent charged with taking down a shadowy mob boss known only as the Big Fellow', only to find that the police have been paid off, and witnesses are getting bumped off. With solid support from Nina Foch (The Dark Past), James Whitmore (Madigan) and Barry Kelley (711 Ocean Drive), The Undercover Man is a brilliant documentary-style thriller, a tale told with the snarl of a machine gun!' Extras: Indicator Standard Edition Special Features 2K restoration Original mono audio Audio commentary with writer and film programmer Tony Rayns (2020) Man on a Bus (1945, 29 mins): short film directed by Joseph H Lewis for the United Jewish Appeal, featuring a star-studded cast, including Walter Brennan, Broderick Crawford, Ruth Roman, and Lassie Income Tax Sappy (1954, 17 mins): comedy starring the Three Stooges, in which the trio come under the scrutiny of the US Treasury Department when they get creative with their tax returns Image gallery: publicity and promotional material New and improved English subtitles for the deaf and hard of hearing
The notorious serial killer Jigsaw is back for more deadly fun and games.
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