Sean Bean stars as swashbuckling British officer Richard Sharpe in Sharpe's siege. Sharpe marries his sweetheart Jane Gibbons but then has to immediately leave her to go on a dangerous mission in the Pyrenees to capture a French fort.While Sharpe is battling with the French his wife contracts a deadly fever which has swept through the British camp and endangers her life. Sharpe encounters his old enemy Ducos and is compelled to stay at the fort an fight for his country knowing that even is he survives he may never see his beloved new bride again.
Sean Bean stars as the courageous Major Richard Sharpe. In Sharpe's Mission Wellington orders Sharpe to join the dashing Colonel Brand on a hazardous journey behind French enemy line with the aim of blowing up an ammunition store.Sharpe's wife Jane becomes disillusioned with Sharpe's frequent absences. Left behind in the camp she warms to the attentions of another admirer.Meanwhile Sharpe is out in the mountains and is dangerously out numbered with the French ranks closing in. He must risk his own life however to confront a far deadlier enemy on his own side.
A tribute to John Thaw which includes: 'Inspector Morse - The Dead Of Jericho' in which Morse investigates the mysterious circumstances surrounding the death of Anne Stavely. Based on the novel by Colin Dexter. 'Kavanagh QC - Nothing But The Truth' which centres on James Kavanagh who has climbed to the top of his profession as one of the leading criminal advocates in London. He takes on the defence of a student accused of raping a middle-aged housewife. 'Goodnight Mister Tom' finds To
Detective Superintendent Tennison investigates the mysterious death of a local country club manager and is led to a hidden political scandal...
Dead Bolt Dead' takes a twisted look at the dark world of organised crime at its assasins its bosses its drivers and its sharply suited paid thugs. It adds a dose of country and western a couple of spliffs and a Mexican cook with a meat cleaver. It's a dark thriller with a wry sense of humour that focuses on the need to keep talking when staring down the barrel of a gun. Set in 2 locations in and outside London it charts the night after a bold attempt to take out a rival gang fails. Two hostage situations emerge - one with a wounded thug desperate to secure his safety the other with a hired gun and his crime lord target. The claustrophobic confines of the 2 situations sporadically burst into violence - these characters simply too big for the corner they've got themselves into and they will do ANYTHING to get themselves out of it!
By any rational measure, Alan Parker's cinematic interpretation of Pink Floyd's The Wall is a glorious failure. Glorious because its imagery is hypnotically striking, frequently resonant and superbly photographed by the gifted cinematographer Peter Biziou. And a failure because the entire exercise is hopelessly dour, loyal to the bleak themes and psychological torment of Roger Waters' great musical opus, and yet utterly devoid of the humour that Waters certainly found in his own material. Any attempt to visualise The Wall would be fraught with artistic danger, and Parker succumbs to his own self-importance, creating a film that's as fascinating as it is flawed. The film is, for better and worse, the fruit of three artists in conflict--Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerising film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters's alter ego--an alienated, "comfortably numb" rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters's autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It's a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. --Jeff Shannon
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