The moment young Finn sets eyes on Estella she becomes his inspiration--and his obsession. Despite being warned ""she'll only break your heart "" he vows to win her love. Years later thanks to a mysterious benefactor aspiring artist Finn is off to New York where he is reunited with the icy and beautiful Estella. When she agrees to model for him Finn's dearest hopes may at last be realized--along with his darkest fears.
The Coen Brothers' award-winning film transforms into a new "true crime" story with new characters.all chilled in the trademark dry wit, voilent foul play and "Minnesota nice" of the original classic film. In SEASON ONE, Billy Bob Thornton stars as Lorne Malvo, a manipulative master criminal. Kirsten Dunst and Ted Danson co-star in SEASON TWO, a gripping saga that kicks off with bloodshed at a South Dakota Waffle Hut. Finally, in SEASON THREE, Ewan McGregor shines in dual roles as the "Parking Lot King of Minnesota," Emmit Stussy, and his brother, Ray, a potbellied parole officer with a chip on his shoulder.
It's no secret that the popular animated feature release Anastasia played fast and loose with Russian Imperialist history. Never mind that the movie's debut coincided with DNA proof--provided by Britain's Prince Phillip, no less--that Anna Andersen was not Tsar Nicholas II's daughter Anastasia and that Russian-discovered bones were indeed that of the Tsar and his brutally murdered family. Anastasia's made-for-video sequel, Bartok the Magnificent, doesn't let historical fact get in its way either. Still, the animated adventure, which features Bartok the excitable albino bat (voiced again by Hank Azaria), is cute and funny, thanks to clever writing and great voice work. Bartok and his sidekick bear friend (an excellent Kelsey Grammer, who voiced Vlad in the original) have become street performers and become embroiled in the evil Ludmilla's plot to get rid of the next heir, a prince. While it's not a particularly fresh tale, Bartok the Magnificent is kept alive through Azaria and Grammer's well-timed and well-executed voiceovers. --N.F. Mendoza
Drawn by the lure of fresh air hiking and rafting six city friends escape to the mountains and become prey to a serial killer in 'Blood Reaper'. According to local lore a blade-wielding psycho appears on a full moon during leap year. These untimely mountaineers must try to outwit a killer intent on slaughtering them all.
Gritty boxing drama about an ambitious young boxer Arthur Wilson (Mickey Rooney) who ignores the advice of his rugged trainer and makes a poor choice of associates. He goes up against a veteran boxer after gangsters have put in the fix only to decide to go for the win against the odds and his life. Only his girlfriend can save him from himself.
Made in 1931 shortly after the introduction of the talkies, Charlie Chaplin's City Lights is nonetheless near-silent. Chaplin was afraid that, should his universally known and beloved Tramp speak onscreen, he would be severely limited and compromised as a character. And so, City Lights is billed as "pantomime", a piece of cinema harking back to the manners and methods of an already defunct era. Chaplin fell out of fashion towards the end of the 20th century as a new wave of comedians (Rowan Atkinson for one) castigated him for what they saw as his excessive, maudlin sentimentality. Certainly, City Lights--which sees Chaplin's Tramp befriended by a blind flower girl who mistakes him for a rich benefactor--is hokum indeed. Accepting this, however, what makes the film so marvellous is the deceptive skill and artistry of Chaplin the filmmaker, the immaculate timing and acrobatic grace of his seemingly slapstick comedy, in particular a justly famous boxing sequence. Chaplin's sparing use of sound is inventive also: the wordless waffle of public speakers in the opening scene and another in which the tramp swallows a whistle. Moreover, the conclusion, in which the dishevelled Tramp encounters again the flower girl, her eyesight restored is--sentimentality notwithstanding--one of the most moving and superbly executed scenes in cinema history, not least for its economy and restraint. On the DVD: City Lights contains a generous package of extras on this two-disc set, including an introduction by David Robinson, in which he relates how poorly Chaplin and his leading lady Virginia Cherrill got on, an extended documentary/interview with Peter Lord (partner in animation to Nick Parks), who sings the praises of Chaplin's screen art, and a deleted scene, an immaculate piece of business involving a grate and a stick. There's a bonus in the form of an excerpt from 1915's The Champion, in which Chaplin prefigures the boxing scene from City Lights. Meanwhile, the "documents" section includes a wealth of behind-the-scenes footage, including a test screening for alternative actress Georgia Hale, rehearsal shots, chaotic scenes of Chaplin being mobbed in Vienna, a meeting with Winston Churchill and 1918 footage of Chaplin horsing around with famous boxers of the day including Benny Leonard. It also contains trailers, photo gallery and subtitles. On the first disc, the film's transfer to DVD is splendid. --David Stubbs
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