Rick Deckard (Harrison Ford) prowls the steel-and-microchip jungle of 21st century Los Angeles. He's a 'blade runner' stalking genetically made criminal replicants. His assignment: kill them. Their crime: wanting to be human. The story of Blade Runner is familiar to countless fans. But few have seen it like this. Because this is director Ridley Scott's own vision of his sci-fi classic. This new version omits Deckard's voiceover narration, develops in slightly greater detail the romanc...
Tracklist Rapture Island Of Lost Souls Danceway The Tide Is High Heart Of Glass Hanging On The Telephone Dreaming One Way Or Another War Child Start Me Up Call Me
There have been many film and TV adaptations of Oliver Twist but this 1948 production from director David Lean remains the definitive screen interpretation of the Charles Dickens classic. From the ominous symbolism of its opening storm sequence (in which Oliver's pregnant, ill-fated mother struggles to reach shelter before childbirth) to the mob-scene climax that provokes Bill Sikes's dreadful comeuppance, this breathtaking black-and-white film remains loyal to Dickens while distilling the story into its purest cinematic essence.Every detail is perfect--Lean even includes a coffin-shaped snuffbox for the cruel Mr. Sowerberry--and as young Oliver, eight-year-old John Howard Davies (who would later produce Monty Python's Flying Circus for the BBC) perfectly expresses the orphan's boyish wonderment, stern determination and waifish vulnerability. Best of all is Alec Guinness as Fagin, so devious and yet so delightfully appealing under his beak-nosed (and, at the time, highly controversial) make-up. (Many complained that Fagin's huge nose and greedy demeanour presented an anti-Semitic stereotype, even though Lean never identifies Fagin as Jewish; for this reason, the film wasn't shown in the US until three years after its British release.) Likewise, young Anthony Newley is artfully dodgy as Fagin's loyal accomplice, the Artful Dodger. Guinness's performance would later provide strong inspiration for Ron Moody's equally splendid portrayal of Fagin in the Oscar-winning Oliver! and while that 1968 musical remains wonderfully entertaining, it is Lean's film that hews closest to Dickens' vision. The authentic recreation of 19th-century London is marvellous to behold; Guy Green's cinematography is so shadowy and stylised that it almost qualifies as Dickensian film noir. Lean is surprisingly blunt in conveying Dickens's theme of cruelty but his film never loses sight of the warmth and humanity that Oliver embodies. --Jeff Shannon
Join The Inbetweeners as they make their big screen debut in this critically acclaimed, smash-hit comedy. Having just left school for good, Simon, Will, Jay and Neil are off on the holiday of a lifetime; two weeks of sun, sea and, who knows, maybe even some sex, with no teachers, no parents and absolutely no idea how to survive on their own. Follow the adventures of these four clueless friends as they lurch from one holiday disaster to the next. Appalling accommodation. Check. Humiliating attempts to pull girls. Check. Regrettable misuse of bidet. Check. It's a very real and painfully funny coming of age tale where four boys become men... or at least try to.
Set in Great Shanghai two rival gangs the Furious Fox and the Black Eagle are fighting to establish domination in the territory. Only one force can stop the never-ending killings: the Ninja Dragon!
School Of Rock (Dir. Richard Linklater 2003): Fired from his band rock guitarist and vocalist Dewey Finn takes a job as a 4th grade substitute teacher at an uptight private school where his free livin' lifestyle attitude music and antics soon influences the students to explore other sides of themselves the school doesn't encourage. Finn's real goal in taking the job is to recruit a 9-year-old guitar prodigy Zack to become the lead guitarist in a band that would be able to
For Becky (Rachel McAdams, The Notebook), running a TV show in New York City was the big break she dreamed of… until star co-anchors Mike (Harrison Ford, Raiders of the Lost Ark) and Colleen (Diane Keaton, Something’s Gotta Give) declare an all-out, on-air war. Making the show work with its cast of eccentric characters and outrageous story angles will take a major miracle, but Becky is ready to rise and outshine. Special Features: Commentary by Director Roger Michell and Writer Aline Brosh McKenna Deleted Scenes: Shampoo Bottles (HD)
The world is closing in on Greta Driscoll. On the cusp of turning fifteen she can't bear to leave her childhood, it contains all the things that give her comfort in this incomprehensible new world. She floats in a bubble of loserdom with her only friend Elliott, until her parents throw her a surprise 15th birthday party and she's flung into a parallel place; a world that's weirdly erotic, a little bit violent and thoroughly ludicrous - only there can she find herself. Based on the critically acclaimed production by Windmill Theatre, GIRL ASLEEP is a journey into the absurd, scary and beautiful heart of the teenage mind.
Directed by Martin Scorsese, George Harrison - Living in the Material World is a stunning double-feature-length film tribute to one of music's greatest icons.Scorsese uses never-before-seen footage from George Harrison's childhood, throughout his years with The Beatles, through the ups and downs of his solo career, and through the joys and pain of his private life, to trace the arc of George's journey from his birth in 1943 to his passing in 2001. Living in the Material World features private home videos, photos and never before heard tracks to chronicle the incredible story of the extraordinary man.Despite its epic reach, the film is deeply personal. Ringo Starr, Eric Clapton, Paul McCartney, Yoko Ono, Olivia and Dhani Harrison, among many others, talk openly about George's many gifts and contradictions and reveal the lives they shared together. In every aspect of his professional, personal and spiritual life, until his final hours, George blazed his own path.As his friend John Lennon once said: George himself is no mystery. But the mystery inside George is immense. It's watching him uncover it all little by little that's so damn interesting.
Firewall (Dir. Richard Loncraine 2006): Jack Stanfield (Harrison Ford) is an average family man in Seattle who heads up the hi-tech security team at his local bank. But following a seemingly trivial case of identity theft Jack's life is turned upside-down when he discovers that his wife (Virginia Madsen) and two kids have been kidnapped. The ransom? A mere $100 million which the kidnappers led by Bill Cox (Paul Bettany) want Jack to obtain for them via his expert computer skills. Initially compliant Jack is soon irked by Cox and his cronies to the point where he decides to risk everything to get his family back and bring the bad guys to justice... The Fugitive (Dir. Andrew Davis 1993): Catch him if you can. The Fugitive if on the run! Harrison Ford and Tommy Lee Jones race through the breathless manhunt movie based on the classic TV series. Ford is prison escapee Dr. Richard Kimble a Chicago surgeon falsely convicted of killing his wife and determined to prove his innocence by leading his pursuers to the one-armed man who actually committed the crime. Jones is Sam Gerard an unrelenting bloodhound of an U.S. Marshal. They are hunted and hunter. The non-stop chase has one exhilarating speed: all out.
Over the course of three nights at Hollywood's Pantages Theatre in December 1983, filmmaker Jonathan Demme joined creative forces with cinematographer Jordan Cronenweth and Talking Heads ... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fuelled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne. The staging--and Demme's filming of it--builds toward an orgasmic release of music, rising from the bare-stage simplicity of Byrne, accompanied only by a boom box on "Psycho Killer" to the ecstatic crescendo of "Burning Down the House", by which time the Heads and additional personnel have all arrived on stage for a performance that seems channelled from heaven for the purpose of universal uplift. (God bless Demme for avoiding shots of the luckiest audience in 80s pop history; its presence is acknowledged but not at the viewer's expense.) With the deliriously eccentric Byrne as ringleader (pausing mid-concert to emerge in his now-legendary oversized suit), this circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome. --Jeff Shannon
Dora The Explorer: Dora's World Adventure
Lenny Rubins, (Timothy Spall - The King's Speech) an up-tight lawyer, has to put his dream retirement on hold when his ailing mother (Honor Blackman - Goldfinger) emotionally blackmails him into reuniting his estranged children for a Jewish holiday. They may be peas from the same pod, but in Lenny's eyes, his grown up children are certainly not from the same planet: a survival-of-the-fittest/control-freak hard-nosed capitalist (James Callis - Battlestar Galactica), an outspoken argumentative eco-warrior committed to the cause (Rhona Mitra - Underworld: Rise of the Lycans) an outer worldly Buddhist Monk; and to cap it all a bible bashing born-again Rabbi! They might not see eye to, quarrel, fight, and even be starting a war in Africa but they are still family and it is going to take a whole lot of soul searching and sacrifice for all involved to come together in this heart warming, comic, family drama that will have you thinking of your own family with a smile.
Swallow your fear... EMR is the first UK film to be simultaneously released in cinemas on the internet and on DVD. Erskine and McCullough's debut feature is a deft thriller that cleverly weaves together a host of urban myths - from kidney-stealing and alien abduction to manipulative drug corporations; this is a paranoiac's wonderland. Reminiscent of Jacob's Ladder and with shades of Donnie Darko the plot winds its way Rubik's cube-like to a satisfyingly twisted climax... At times sinister surprising and striking and with an endearingly hapless hero EMR is a refreshingly British take on the thriller that will make you think twice the next time you knock back a couple of aspirin!
Perhaps the most easily parodied action series of its era, The Professionals was the one about the gruff but fatherly counter-terrorist top cop Cowley (Gordon Jackson) and his favourite surrogate sons, the curly haired ex-copper Ray Doyle (Martin Shaw) and taciturn-but-pouting ex-mercenary William Bodie (Lewis Collins). As set out by series creator Brian Clemens (veteran of the more fantastical Avengers), their job was to stop threats to the government, visiting dignitaries or the general public "by any means necessary". What this boiled down to was dashing about, leaping out of cars, getting into thump-happy fistfights, leering at every "bird" who passed by as if they were trying to prove something, wearing eye-abusing late-70s leisure wear well beyond the sell-by date, potting baddies with guns hauled out of their smart shoulder holsters, and occasionally choking back manly tears when another of the trio was wounded. All three leads were professionals of another stripe--the sort of actors who could soar with a good script and do their best to sell a weak one--and they were generally set against a parade of top-flight British character acting talent along with sundry sit-com/pin-up refugee disposable girlfriends and suspects. One strange, if understandable, element of the premise is that CI5 tackle all manner of Greek, Middle Eastern, Soviet and radical nutcase groups--with the odd racist Klansman, corrupt civil servant and dubious big business tycoon thrown in to prove they're not fascists--but almost never have anything to do with the Irish terrorist groups who were the main focus of the organisation's real-life counterparts from 1977 to 1983. --Kim Newman
Haughty conductor Sir Alfred De Carter (Harrison) is madly in love with his wife Daphne but is driven to a murderous fit of jealousy when he reads a private detective's report of her activities during his absence. Convinced she is having an affair with his handsome young secretary De Carter contemplates various methods of murdering them but when he attempts to execute his plans his efforts degenerate into farce!
Ninja speed of action meets Ninja speed of thought in Golden Ninja Warrior. The Golden Ninjas decide to return their valuable golden statue to China for an important ceremony. But longtime enemies the Red Ninjas intend to steal the statue and send their best Ninja heroine to draw out the Golden Ninjas leader Max. This is a breath-taking story of underworld revenge murder and Ninja challenges.
Joseph Mankiewicz's moody 1947 classic The Ghost and Mrs Muir is less a ghost story than a romantic fantasy, a handsome 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
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