Now perhaps the most beloved American film, It's a Wonderful Life was largely forgotten for years, due to a copyright quirk. Only in the late 1970s did it find its audience through repeated TV showings. Frank Capra's masterwork deserves its status as a feel-good communal event, but it is also one of the most fascinating films in the American cinema, a multilayered work of Dickensian density. George Bailey (played superbly by James Stewart) grows up in the small town of Bedford Falls, dreaming dreams of adventure and travel, but circumstances conspire to keep him enslaved to his home turf. Frustrated by his life, and haunted by an impending scandal, George prepares to commit suicide on Christmas Eve. A heavenly messenger (Henry Travers) arrives to show him a vision: what the world would have been like if George had never been born. The sequence is a vivid depiction of the American Dream gone bad, and probably the wildest thing Capra ever shot (the director's optimistic vision may have darkened during his experiences making military films in World War II). Capra's triumph is to acknowledge the difficulties and disappointments of life, while affirming--in the teary-eyed final reel--his cherished values of friendship and individual achievement. It's a Wonderful Life was not a big hit on its initial release, and it won no Oscars (Capra and Stewart were nominated); but it continues to weave a special magic. --Robert Horton
Lieutenant Goodbody (Crawford) has absolutely no idea how to lead his British regiment in the North African battlefield of WWII. But what he lacks in experience he makes up for in enthusiasm. And when he's ordered to build a cricket playing field 100 miles behind enemy lines he's determined to succeed even if this means most of his men are killed in the process. Abandoned by his superiors betrayed by his inferiors and finally captured by Nazis it's going to take more than his unre
As the Cold War rages, ex-smuggler turned reluctant spy Harry Palmer finds himself at the centre of a dangerous undercover mission, on which he must use his links to find a missing British nuclear scientist.
Intelligent casting, strong performances and the persuasive chemistry between Sean Connery and Michelle Pfeiffer prove the virtues in director Fred Schepisi's well-intended but problematic screen realization of this John Le Carré espionage thriller. At its best, The Russia House depicts the bittersweet nuances of the pivotal affair between a weary, alcoholic London publisher (Connery) and the mysterious Russian beauty (Pfeiffer) who sends him a fateful manuscript exposing the weaknesses beneath Soviet defence technology. Connery's Barley is a gritty, all-too-human figure who's palpably revived by his awakening feelings for Pfeiffer's wan, vulnerable Katya, whose own reciprocal emotions are equally convincing. Together, they weave a poignant romantic duet. The problems, meanwhile, emanate from the story line that brings these opposites together. Le Carré's novels are absorbing but typically internal odysseys that seldom offer the level of straightforward action or simple arcs of plot that the big screen thrives on. For The Russia House, written as glasnost eclipsed the cold war's overt rivalries, Le Carré means to measure how old adversaries must calibrate their battle to a more subtle, subdued match of wits. Barley himself becomes enmeshed in the mystery of the manuscript because British intelligence chooses to use him as cat's paw rather than become directly involved. Such subtlety may be a more realistic take on the spy games of the recent past but it makes for an often tedious, talky alternative to taut heroics that Connery codified in his most celebrated early espionage role. If the suspense thus suffers, we're still left with an affecting love story, as well as some convincing sniping between British and US intelligence operatives, beautifully cast with James Fox, Roy Scheider and John Mahoney. Veteran playwright Tom Stoppard brings considerable style to the dialogue, without solving the problem of giving us more than those verbal exchanges to sustain dramatic interest. --Sam Sutherland
George Bizet's opera 'Carmen' performed by the Metropolitan Opera Chorus and Orchestra. Conducted by James Levine.
Peter Parker (Tobey Maguire) has finally managed to strike a balance between his devotion to M.J. (Kirsten Dunst) and his duties as a superhero. But when his suit suddenly changes, turning jetblack and enhancing his powers, it transforms Peter, bringing out a dark vengeful side that he struggles to control. He must now battle his inner demons as two of the mostfeared villains yet, Sandman (Thomas Haden Church) and Venom (Topher Grace), gather unparalleled power and a thirst for revenge which threatens Peter and everyone he loves. Features: Commentaries
Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak
Sara Gruen's bestselling novel comes to glossy life in this period romance. A sparkle-free Robert Pattinson plays Jacob Jankowski, who studies veterinary medicine during the Great Depression. After a family tragedy, he loses everything, including the chance to graduate from prestigious Cornell, so he hops a train, where he finds himself part of the struggling Benzini Brothers Circus. Ringleader August (Christoph Waltz, echoing his Oscar®-winning Inglourious Basterds performance) has doubts about the softhearted lad, but a fellow Pole smoothes the way, and Jacob becomes the company vet, which leads him to platinum-blonde equestrian Marlena (Reese Witherspoon), August's wife. The two make eyes at each other, but an affair would surely end badly, so they concentrate on their work. When Marlena's prize steed falls ill, August purchases an elephant, hoping Rosie will turn their fortunes around, and enlists Jacob to train her. Unfortunately, she's slow to respond to commands until Jankowski unlocks her secret--and after August has beaten the poor thing into submission. After that, things start to look up until Jacob steals a kiss from his dream girl. As in The Notebook, the film it most closely resembles, an elderly version of the central character (Hal Holbrook, touching) narrates in the present day (screenwriter Richard LaGravenese also adapted The Bridges of Madison County). He tells an interesting tale, so it's too bad the leads strike so few sparks. For those who find big-top classics like Nightmare Alley too dark, however, Francis Lawrence's feel-better variant may be just the ticket. --Kathleen C. Fennessy
James Stewart, Cary Grant, and the unstoppable Katharine Hepburn star in Hollywood's greatest romantic comedy With this furiously witty comedy of manners, KATHARINE HEPBURN (Woman of the Year) revitalized her career and cemented her status as the era's most iconic leading lady thanks in great part to her own shrewd orchestrations. While starring in the PHILIP BARRY stage play The Philadelphia Story, Hepburn snapped up the screen rights, handpicking her friend GEORGE CUKOR (Adam's Rib) to direct. The intoxicating screenplay by DONALD OGDEN STEWART (Holiday) pits the formidable Philadelphia socialite Tracy Lord (Hepburn, at her most luminous) against various romantic foils, chief among them her charismatic exhusband (His Girl Friday's CARY GRANT), who disrupts her imminent marriage by paying her family estate a visit, accompanied by a tabloid reporter on assignment to cover the wedding of the year (JAMES STEWART, in his only Academy Award®winning performance). A fast-talking screwball comedy as well as a tale of regrets and reconciliation, this convergence of golden-age talent is one of the greatest American films of all time. BONUS FEATURES SPECIAL EDITION FEATURES New 4K digital restoration, with uncompressed monaural soundtrack Audio commentary from 2005 featuring film scholar Jeanine Basinger New introduction to actor Katharine Hepburn's role in the development of the film by documentarians David Heeley and Joan Kramer In Search of Tracy Lord, a new documentary about the origin of the character and her social milieu Two full episodes of The Dick Cavett Show from 1973, featuring rare interviews with Hepburn, plus an excerpt of a 1978 interview from that show with director George Cukor Lux Radio Theatre adaptation of the film from 1943, featuring an introduction by filmmaker Cecil B. DeMille Restoration demonstration PLUS: An essay by critic Farran Smith Nehme
Inspired by the 1973 motion picture of the same name, Westworld is a one-hour drama series about a futuristic theme park populated by artificial beings. Written and directed by Michael Crichton this dark odyssey about the dawn of artificial consciousness and the evolution of sin is set at the intersection of the near future and the reimagined past. It explores a world in which every human appetite, no matter how noble or depraved, can be indulged. 1. Pilot 2. Chestnut 3. The Stray 4. Six Impossible Things 5. Contrapasso 6. Trace Decay 7. Trompe L'Oeil 8. The Adversary 9. Job's Root 10. The Bicameral Mind.
In a land of myth and a time of magic... the destiny of a great kingdom rests on the shoulders of a young man. His name... Merlin. Swords Sorcery and swashbuckling adventure rule in the hit BBC series Merlin. The Complete Collection brings together all five series on DVD as we follow the young warlock; Merlin (Colin Morgan) as he attempts to fulfil his destiny at the side of the once and future king; Arthur (Bradley James). Featuring a stellar cast including Angel Coulby Katie McGrath Anthony Head Richard Wilson and John Hurt as the voice of the Dragon the Complete Collection tells the epic story of the golden age of Camelot. With superb action sequences and stunning CGI captivating the imagination as never-before-seen. Special Features: Making of Merlin Series Documentaries Out-Takes Cast and Crew Audio Commentaries Deleted Scenes Wallpapers Series 2: Secrets and Magic Photo Galleries
Sex, Chips and Rock 'n' Roll spins a complex web of secret loves and twisted ambitions against the backdrop of the early British music scene. It's a rock n' roll soap opera, but it's smartly written and engagingly acted, full of subtle commentary on the cultural changes cutting across British society. Manchester in 1965 seems like a dead end to two sisters, flirty Arden (Emma Cooke) and bookish Ellie Brookes (Gillian Kearney). They ache to get out from under the thumb of their domineering grandmother (Sue Johnston), and when their cousin Norman (David Threlfall) proposes to Ellie, she accepts. But just then the sisters meet a struggling band called the Ice Cubes, who grudgingly play back-up for a smarmy singer named Larry B Cool (Phil Daniels) while trying to land a record deal. Arden throws herself at the group's leader, Dallas (Joseph McFadden), but Dallas finds himself drawn more to Ellie, who's also an aspiring songwriter. From there the multi-dimensional characters take unexpected turns, and you'll quickly find yourself drawn into their lives. --Bret Fetzer, Amazon.com
The film that effectively launched the star careers of Robert Carlyle, Ewan McGregor and Jonny Lee Miller is a hard, barbed picaresque, culled from the bestseller by Irvine Welsh and thrown down against the heroin hinterlands of Edinburgh. Directed with abandon by Danny Boyle, Trainspotting conspires to be at once a hip youth flick and a grim cautionary fable. Released on an unsuspecting public in 1996, the picture struck a chord with audiences worldwide and became adopted as an instant symbol of a booming British rave culture (an irony, given the characters' main drug of choice is heroin not ecstasy).McGregor, Lee Miller and Ewen Bremner play a slouching trio of Scottish junkies; Carlyle their narcotic-eschewing but hard-drinking and generally psychotic mate Begbie. In Boyle's hands, their lives unfold in a rush of euphoric highs, blow-out overdoses and agonising withdrawals (all cued to a vogueish pop soundtrack). Throughout it all, John Hodge's screenplay strikes a delicate balance between acknowledging the inherent pleasures of drug use and spotlighting its eventual consequences. In Trainspotting's world view, it all comes down to a question of choices--between the dangerous Day-Glo highs of the addict and the grey, grinding consumerism of the everyday Joe. "Choose life", quips the film's narrator (McGregor) in a monologue that was to become a mantra. "Choose a job, choose a starter home... But why would anyone want to do a thing like that?" Ultimately, Trainspotting's wised-up, dead-beat inhabitants reject mainstream society in favour of a headlong rush to destruction. It makes for an exhilarating, energised and frequently terrifying trip that blazes with more energy and passion than a thousand more ostensibly life-embracing movies. --Xan Brooks
In this classic 1963 adaptation of William Golding's novel Lord of the Flies, a planeload of schoolboys are stranded on a tropical island. They've got food and water; all that's left is to govern themselves peacefully until they are rescued. "After all", says choir leader Jack, "We're English. We're the best in the world at everything!" Unfortunately, living peacefully is not as easy as it seems. Though Ralph is named chief, Jack and the choristers quickly form a clique of their own, using the ever-effective political promise of fun rather than responsibility to draw converts. Director Peter Brook draws some excellent performances out of his young cast: the moment when Ralph realises that even if he blows the conch for a meeting people might not come is an excruciating one. Well acted and faithfully executed, Lord of the Flies is as compelling today as when first released. --Ali Davis
Shy lonely Eric Binford delivers film cassettes and film-related supplies in Los Angeles for a living. But he really exists only to see movies and immerse himself in fantasies about cinematic characters and stars. Frequently bullied and betrayed Eric comforts himself by pretending to be one of the many tough heroes or villains who have captivated him from the silver screen. When a series of unpleasant incidents loosen Eric's already weak grip on reality it sends him into a homicidal rage. He launches a series of grotesque murders all patterned after characters and incidents from his beloved movies. He becomes known as the Celluloid Killer one of the most horrifying murderers the city has ever known.
L'Elisir D'AmoreMelodramma In Two Acts.
A British expedition team in Egypt discovers the ancient sealed tomb of the evil Queen Tera. But when one of the archaeologists steals a mysterious ring from the corpse's severed hand he unleashes a relentless curse upon his beautiful daughter. Is the voluptuous young woman now a reincarnation of the diabolical sorceress or has the curse of the mummy returned to reveal its horrific revenge? Andrew Keir and the luscious Valerie Leon star in this supernatural shocker based on Bram Stoker's classic novel 'Jewel Of The Seven Stars'.
A box set featuring 16 of the finest efforts from the house of Ealing. 1. Champagne Charlie (Dir. Alberto Cavalcanti 1944) 2. Dead of Night (Dirs. Alberto Cavalcanti & Charles Crichton 1945) 3. Hue & Cry (Dir. Charles Crichton 1947) 4. It Always Rains on Sunday (Dir. Robert Hamer 1947) 5. Kind Hearts and Coronets (Dir. Robert Hamer 1949) 6. The Ladykillers (Dir. Alexander Mackendrick 1955) 7. The Lavender Hill Mob (Dir. Charles Crichton 1951) 8. The Maggie (Dir. Alexander Mackendrick 1954) 9. The Magnet (Dir. Charles Frend 1950) 10. The Man in The White Suit (Dir. Alexander Mackendrick 1951) 11. Nicholas Nickelby (Dir. Alberto Cavalcanti 1947) 12. Passport To Pimlico (Dir. Henry Cornelius 1949) 13. Scott of The Antarctic (Dir. Charles Frend 1948) 14. The Titfield Thunderbolt (Dir. Charles Crichton 1953) 15. Went The Day Well? (Dir. Alberto Cavalcanti 1942) 16. Whisky Galore (Dir. Alexander Mackendrick 1949)
Just when you thought it was safe to go back into the courtroom... Created by TV genius David E. Kelley and led by an Emmy Award-winning cast Boston Legal tells the professional and personal stories of a group of brilliant but often emotionally challenged attorneys. Fast-paced and darkly comedic the series confronts social and moral issues while its characters continually stretch the boundaries of the law. This spin-off of The Practice features all the episo
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