From practically the first episode, broadcast in 1989, The Simpsons impacted on planet TV like a giant multi-coloured meteor. With a claim to being the defining pop cultural phenomenon of the 1990s--hip, fast, sharp and primary--there was nothing even in rock & roll to match this. The Simpsons is possibly the greatest sitcom ever made. Although the animation was initially primitive, never before had cartoon characters been so well drawn. There had been loveable middle-aged layabouts on TV before, but Homer Simpson successfully stole their crown and out-slobbed them all in every department ("The guys at the plant are gonna have a field day with this," he grumbles in "Call of The Simpsons" as he watches scientists on a TV news item who can't decide whether he is incredibly dense or a brilliant beast). However, in this first series he isn't quite yet the bloated man-child he would become in later series; instead he's a growling patriarch with a Walter Matthau-type voice. His sensible half Marge's croak, meanwhile, has yet to settle down, while the vast cast of minor Springfield characters have yet to find their place. Bart, however, was a smash from the start: dumb as Homer but spiky-haired and resourceful, he sets out his manifesto in "Bart the Genius"; while "Moaning Lisa" spotlights his over-achieving sister and is a good early example of the series' clever handling of melancholy bass notes. Throughout its life there's always been confusion as to whether The Simpsons is a show for kids or adults, but with allusions in these first 13 episodes to Kubrick, Diane Arbus, Citizen Kane and (in a very satisfyingly anti-French episode) Manon des Sources, it should already have been clear that this was a programme for all ages and all IQs from 0 to 200. Dysfunctional they may have been, but the Simpsons stuck together, and audiences stuck with them into the 21st century. --David Stubbs On the DVD: The packaging is good but the 13 episodes are spread very thinly here, with just five each on discs one and two . The commentary track is intermittently interesting though a tad repetitive, as creator David Groening is joined by various other members of the team. The third disc has some neat extra stuff, including outtakes, the original Tracey Ullman Show shorts and a five-minute BBC documentary, but is again fairly brief. The menu interfaces are pretty clunky, annoyingly forcing you to watch endless copyright warnings after each episode and with no facility to "play all". The content is wonderful, of course, but three discs looks like overkill. --Mark Walker
Summers span decades and winters can last a lifetime. From the scheming South and the savage Eastern lands to the frozen North and ancient Wall that protects the realm from the mysterious darkness beyond, the powerful families of the Seven Kingdoms are locked in a battle for the Iron Throne. Based on the best-selling book series A ÂSong of Ice and Fire Âby George R.R. Martin, this is a story of duplicity and treachery, nobility and honour, conquest and triumph. In Game of Thrones, you either win or you die. Special Features Includes over 3 hours of bonus features
1942: The Libyan war zone, North Africa. After a German invasion a British ambulance crew are forced to evacuate their base but become separated from the rest of their unit. Somehow they must make it to Alexandria, but how? Their only hope is a dilapidated ambulance named Katy and an irrational, alcoholic soldier known as Captain Anson. Facing landmines, Nazi troops, spies and the merciless, scorching, brutal environment of the desert, can Captain Anson face his demons and make the road to hell a journey to freedom? Features: NEW Steve Chibnall on J. Lee Thompson NEW Interview with Melanie Williams Senior Lecturer in Film Studies, University of East Anglia Interview with Sylvia Syms John Mills Home Video Footage Original Trailer Behind The Scenes Stills Gallery Extended Clip from A Very British War Movie Documentary
1942: The Libyan war zone, North Africa. After a German invasion a British ambulance crew are forced to evacuate their base but become separated from the rest of their unit. Somehow they must make it to Alexandria, but how? Their only hope is a dilapidated ambulance named Katy and an irrational, alcoholic soldier known as Captain Anson. Facing landmines, Nazi troops, spies and the merciless, scorching, brutal environment of the desert, can Captain Anson face his demons and make the road to hell a journey to freedom? Features: NEW Steve Chibnall on J. Lee Thompson NEW Interview with Melanie Williams Senior Lecturer in Film Studies, University of East Anglia Interview with Sylvia Syms John Mills Home Video Footage Original Trailer Behind The Scenes Stills Gallery Extended Clip from A Very British War Movie Documentary
The fantastic series now available in one complete set for the very first time! This absorbing children's television drama the biggest ever made in the UK and shot entirely on location follows four friends - Flavia Nubia Jonathan and Lupus - as they struggle to live through one of history's most turbulent times. With many comparisons to the lives of youngsters today they deal with issues of prejudice violence and the environment wrapped up in riveting stories of mystery and suspense. Based on the million-selling books by Caroline Lawrence this lavish production stars Simon Callow (Four Weddings And A Funeral Shakespeare In Love A Room With A View) as Pliny.
One Direction: This Is Us is a captivating and intimate all-access look at life on the road for the global music phenomenon. Weaved with stunning live concert footage this inspiring feature film tells the remarkable story of Niall Zayn Liam Harry and Louis' meteoric rise to fame from their humble hometown beginnings and competing on the X-Factor to conquering the world and performing at London's famed O2 Arena. Hear it from the boys themselves and see through their own eyes what it's really like to be One Direction. Directed by Morgan Spurlock the film is produced by Simon Cowell Adam Milano Morgan Spurlock and Ben Winston. The executive producers are Richard Griffiths Harry Magee Will Bloomfield Doug Merrifield Jeremy Chilnick and Matthew Galkin.
Writer Peter Mayle's autobiographical adventurous account of the first year he and his wife spent in Provence is brought wonderfully to life in this BBC adaptation starring John Thaw and Lindsay Duncan. Having decided to leave their jobs London and the rat race behind them the Mayles head of to the South of France seduced by the prospect of the idyllic countryside the simple rural way of life great food fine wines and sun. However everything is not quite as they imagined it to be and one comic situation follows another as they brave mistral winds truffle season and mafia involvement while a succession of colourful characters constantly interrupt their plan for a quiet life...
First broadcast in 1991 the third series of The Simpsons contains a clutch of candidates for "Best Simpsons Episode Ever". Homer is on such appallingly good form throughout this series that a reasonable case can be made for asserting that he has superseded the importance of his Greek namesake in the annals of culture and civilisation. The opening "Stark Raving Dad", for instance, features a guest appearance by an un-credited Michael Jackson, who plays an obese white inmate whom Homer meets while confined to a mental institution. Other standout episodes include "Like Father, Like Clown", in which Krusty reveals he is estranged from his Rabbi father; this is The Simpsons at the height of its powers, mature, ironic, erudite and touching while bristling with slapstick and Bart-inspired cheek. "Flaming Moe's" features Aerosmith and sees Homer invent a cocktail which desperate, sleazy bartender Moe steals from him. "Radio Bart" is another demonstration of the series' knack for cultural references, parodying the Billy Wilder movie Ace in the Hole. Finally, there's "Brother Can You Spare Two Dimes", in which Danny DeVito reprises his role as Homer's brother, regaining the fortune Homer lost him by inventing a Baby Translator. Immensely enjoyable at anything from a primary to a doctoral thesis level, this third year of the show demonstrates conclusively that The Simpsons is quite simply, and by a large margin, the greatest television programme ever made. --David Stubbs
Eugene Martone (Ralph Macchio) struggles with the devil and his destiny when he goes down to the Crossroads in this contemporary drama. With a potent blend of adventure, romance and music, the film takes gifted Martone into a dangerous and challenging new world. Obsessed with unlocking the mysteries of the blues, the fledging musicians finds cantankerous Willie Brown (Joe Seneca), a master of the blues harmonica, and frees him from prison. The unlikely duo hobos from New York to Mississipi as Martone searches for fame and Brown tries to break a contract he signed years ago with the devil.
Sixteen seasons (and counting) of pop culture-rocking brilliance, the first four of which have already been gloriously archived on DVD. But in the words of Krusty the Clown: "What has The Simpsons done for me lately?" Well, how about all 22 episodes of season 5, each accompanied by commentary, deleted scenes, and other encyclopedic extras that hopelessly devoted Simpsons fans crave, no, demand? Season 5 is perhaps not as classics-packed as the third or fourth seasons, but no self-respecting Simpsons fan should be without the episodes "Homer's Barbershop Quartet", featuring George Harrison, "Cape Feare", one of Sideshow Bob's (and guest voice Kelsey Grammer's) finest half-hours, "Rosebud", "Springfield (Or, How I Learned to Stop Worrying and Love Legalized Gambling)" and "Bart Gets Famous", with the Springfield-sweeping catchphrase "I didn't do it". Plus, the star power this season is impressive: Michelle Pfeiffer as Homer's comely, donut-loving co-worker in "The Last Temptation of Homer", Albert Brooks as a self-help guru who unleashes "Bart's Inner Child", Kathleen Turner as the creator of Malibu Stacy in "Lisa vs. Malibu Stacy", and, as themselves, the Ramones ("Rosebud"), James Woods ("Homer and Apu"), Buzz Aldren ("Deep Space Homer"), and even Robert Goulet ("Springfield"). But it is the writers and the core ensemble cast who exhibit, to quote "Deep Space Homer", "the right... What's that stuff?" Series milestones include the first appearance of yokel Cletus in "Bart Gets an Elephant" and Maggie's infant nemesis, The Baby with One Eyebrow in "Sweet Seymour Skinner's Badasssss Song" which also happens to be The Simpsons' 100th episode. Add in a very good "Treehouse of Horror" episode, (which outs Ned Flanders as the Devil and Marge as the head vampire), and one Emmy-nominated musical extravaganza ("Who Needs the Quick-E-Mart" from "Homer and Apu"), and you have a Simpsons season that's not just great, it's DVD-box-set great. --Donald Liebenson
First aired in 1990-91, the second series of The Simpsons proved that, far from being a one-joke sitcom about the all-American dysfunctional family, it had the potential to become a whole hilarious universe. The animation had settled down (in the first series, the characters look eerily distorted when viewed years later), while Dan Castellaneta, who voiced Homer, decided to switch from a grumpy Walter Matthau impression to a more full-on, bulbous wail. The series' population of minor characters began to grow with the inclusion of Dr Hibbert, McBain and attorney Lionel Hutz, while the writers became more seamless in their ability to weave pastiche of classic movies into the plot lines. While relatively "straight" by later standards (the surreal forays of future seasons are kept in check here), Season Two contains some of the most memorable episodes ever made, indeed some of the finest American comedy ever made. These include "O Brother, Where Art Thou?", in which Homer is reunited with, and ruins the business of, his long-lost brother ("He was an unbridled success--until he discovered he was a Simpson"), "Dead Putting Society", in which Homer lives out his rivalry with neighbour Ned Flanders through a crazy-golf competition between the sons ("If you lose, you're out of the family!") and one of the greatest ever episodes, "Lisa's Substitute", which not only features poor little Lisa's crush on a supply teacher voiced by Dustin Hoffman but also Bart's campaign to become class president. "A vote for Bart is a vote for anarchy!", warns Martin, the rival candidate. By way of a retort, Bart promises faithfully, "A vote for Bart is a vote for anarchy!". --David Stubbs On the DVD: The Simpsons, Season 2, like its DVD predecessor, has neat animated menus on all four discs as well as apparently endless copyright warnings, but nothing as useful as a "play all" facility. The discs are more generously filled than Season 1, however, and each episode has an optional group commentary from Matt Groening and various members of his team. The fourth disc has sundry snippets including the Springfield family at the Emmy Awards ceremony, Julie Kavner dressed up as Bart at the American Music Awards and videos for both "Do the Bartman" and "Deep, Deep Trouble" (all with optional commentary). There are two short features dating from 1991: director David Silverman on the creation of an episode and an interview with Matt Groening. TV commercials for butterfinger bars, foreign language clips and picture galleries round out the selection. Picture is standard 4:3 and the sound is good Dolby 5.1. --Mark Walker
Alicia Silverstone was so hot after the success of Clueless that she formed her own production company at the age of 19, and Excess Baggage was the first movie she chose as a starring vehicle. Silverstone plays Emily, a spoiled rich girl who has everything but her father's affection, so she decides to stage her own kidnapping to see if dad will come to his senses and appreciate the daughter he so blindly disregards. But when Emily locks herself in the trunk of her own car, she's surprised when the car is stolen by Vincent (Benicio Del Toro, from Fear and Loathing in Las Vegas), a professional car thief whose partner (Harry Connick Jr.) has misplaced 200,000 dollars of the Mob's money. Christopher Walken stars as Emily's "Uncle Ray," who's hot on her trail as she goes on the lam with Vincent. It's not the meandering plot that matters so much as the funny dialogue between Silverstone and Del Toro, who steals his scenes with a smoky mumble and easygoing charm. Excess Baggage is mostly for Alicia fans, but the film has got enough good laughs and low-key appeal to make it a home-video sleeper. --Jeff Shannon
Renee Zellweger stars as the career woman who embarks on the challenge of her life, only to discover the love of her life waiting for her there!
A seemingly squeaky-clean TV reverend and a porno magazine king are suspected of operating a crime-ridden cult. Joe Fridays nephew and his hip partner are given the task of proving these allegations with just the facts...
Richard Burton stars in Alexander the Great, a middling entry in the 1950s CinemaScope epic cycle. The film boasts excellent production values and a fine cast--including Frederic March, Claire Bloom, Harry Andrews, Stanley Baker, Peter Cushing and Michael Hordern--but it rarely comes to life other than as a big fat ancient Greek wedding of the talents of Burton and Bloom. They strike real dramatic sparks together, so much so they would be reunited in Look Back in Anger (1958) and The Spy Who Came in from the Cold (1965). The film's failures must be laid at the feet of writer, director and producer Robert Rossen, who never before or after helmed anything remotely on this scale; his best work would follow with the intimate The Hustler (1961). Rossen simply shows little sensibility for the epic, staging lavish but brief and rather pedestrian battles and somehow drawing from the usually mesmerising Burton a performance lacking the charisma essential to a great military commander. Burton fans can enjoy him at his epic best as Marc Anthony in Cleopatra (1963). On the DVD: Alexander the Great is presented anamorphically enhanced at 2.35:1, although the picture is still obviously cropped at either side of the screen throughout. The print is very variable, in places quite grainy and soft with some serious flickering blotchiness, but otherwise it has strong colours, detail and contrast. The sound is primitive stereo. The only extra is the theatrical trailer, effectively presented in anamorphic 2.35:1. --Gary S. Dalkin
Quirt Evens an all round bad guy is nursed back to health and sought after by Penelope Worth a quaker girl. He eventually finds himself having to choose from his world or the world from which Penelope lives by.
More yuletide fun with Springfield's first family! Homer VS. Dignity: With Smithers away Burns hires a cash-hungry Homer as his 'prank monkey' to peform stunts that ultimately damage Homer's dignity. Skinner's Sense Of Snow: A blizzard traps Skinner and Groundskeeper Willie with an assortment of students at Springfield Elementary. Dude Where's My Ranch?: While out Christmas carolling the famliy finds out from a lawyer that the carol they are singing is copyr
The Simpsons: Treehouse of Horror collection proves that imitation is the sincerest form of flattery, as Stephen King, Ray Bradbury, 2001, Harry Potter, A Nightmare on Elm Street, and Tron get the inimitable Simpsons skewering in this shockingly funny collection of four mostly classic episodes. Best is "V" in which no TV and no beer make Homer go crazy in "The Shinning" ("You mean The Shining", Bart corrects. "Shh, you want to get sued?" Homer reprimands him). "VI" contains the ambitious, computer-animated "Homer3". "VII" features aliens Kang and Hados's finest quarter half-hour as they assume the identities of Bill Clinton and Bob Dole. "XII" boasts the star power of Pierce Brosnan as the voice of a mechanised house that falls in love with Marge and lures Homer to his apparent death with "unexplained bacon". For Halloween and beyond, this crypt-kicking collection is full of screamingly funny treats. --Donald Liebenson
One Direction: This Is Us is a captivating and intimate all-access look at life on the road for the global music phenomenon. Weaved with stunning live concert footage this inspiring feature film tells the remarkable story of Niall Zayn Liam Harry and Louis' meteoric rise to fame from their humble hometown beginnings and competing on the X-Factor to conquering the world and performing at London's famed O2 Arena. Hear it from the boys themselves and see through their own eyes what it's really like to be One Direction. Directed by Morgan Spurlock the film is produced by Simon Cowell Adam Milano Morgan Spurlock and Ben Winston. The executive producers are Richard Griffiths Harry Magee Will Bloomfield Doug Merrifield Jeremy Chilnick and Matthew Galkin.
In Frank Capra's bright, funny and beautifully paced satire Mr Smith Goes to Washington political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant US Senate chair. Surely this naïve bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable yet corrupted career politician. Capra fills the film with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur) who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr Deeds Goes to Town, but this one is even sharper. Stewart and Arthur are brilliant, and the former cowboy-star Harry Carey lends a warm presence to the role of the vice-president. Mr Smith Goes to Washington is Capra's ode to the power of innocence--an idea so potent that present-day audiences may find themselves wishing for a new Mr Smith in the halls of power. The 1939 US Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. --Robert Horton, Amazon.com
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