If it was a piece of fiction, they'd say that it could never happen. Bloody Sunday is a dramatisation of one of the most shameful episodes in recent British history. Released to coincide with the 30th anniversary of the Derry civil rights march and also the re-opening of enquiries into what really happened, the film is one of the most incisive, explosive works ever to emerge from British cinema. The premise is simple--to follow what took place in the city on 30th January 1972, when an anti-internment march descended into violence and left 13 unarmed civilians dead at the hands of the British army. Abandoning traditional filmmaking methods in favour of a more documentary style, Bloody Sunday is frighteningly realistic, especially when detailing the chaos into which the peaceful demonstration descended. Those who are only familiar with James Nesbitt through his lighter work (Cold Feet for example) may find this something of a shock, but he excels in the role of local politician Ivan Cooper. Admittedly there is a danger in presenting historical facts in a dramatic manner, no matter how painstaking the research, even though much of the dialogue here is taken straight from testimony and actual military transcripts. But if any question of bias arises, its worth remembering that this film was written and directed by an Englishman, stars a Derry protestant as well as a young man whose uncle was killed during the march, and was produced as an Anglo-Irish project. The result is an unforgettable and unflinching piece of cinema not to be missed. On the DVD: Bloody Sunday absolutely has to be seen on DVD. The slew of extra features not only complement the film, but place it in the overall context of the past, present and future of Northern Ireland. The various interviews with cast, director and producers paint a picture of a film that sets out to heal wounds and build bridges on all sides and to break the cinematic mould. Thus the majority of the cast were not actors but ordinary people from the Derry area, with the majority of the British soldiers played by ex-military personnel, some of whom had served in Northern Ireland themselves. As more and more of the story behind this remarkable film is revealed, so its impact becomes more intense and its aims and purpose more successful.--Phil Udell
The remarkable career of the movie industry's most admired and influential special-effects auteur, the legendary Ray Harryhausen, is the subject of Gilles Penso's definitive documentary Ray Harryhausen: Special Effects Titan. Leaving no doubt as to Harryhausen's seminal influence on modern-day special effects, the documentary features enlightening and entertaining interviews with the man himself, Randy Cook, Peter Jackson, Nick Park, Phil Tippet, Terry Gilliam, Dennis Muren, John Landis, Guillermo Del Toro, James Cameron, Steven Spielberg and many more. These filmmakers, who today push the boundaries of special effects movie-making, pay tribute to the father of Stop Motion animation and films such as 'The Beast From 20,000 Fathoms','It Came From Beneath The Sea','The 7th Voyage Of Sinbad', 'Mysterious Island', 'Jason And The Argonauts' and 'The Golden Voyage Of Sinbad' - the films that enthralled them as children and inspired them to become filmmakers in their own right.
In Volume 2 of Roughnecks--Starship Troopers Chronicles, Johnny Rico, Lieutenant Razak and their computer-animated squad embark on the Tesca campaign, once again fighting the bugs in all their myriad forms, shooting anything that moves and generally causing chaos and mayhem. Inspired by Robert Heinlein's sci-fi classic and executive-produced by Paul Verhoeven, who made the big-screen version, Roughnecks is cutting-edge TV animation that's more for grown-ups than kids. The neat equipment, combat suits and weapons are as deadly as they are cool, and even though the extreme gore and violence of the movie has been toned down the endless threat from all manner of nasty bugs is still pretty terrifying (the Giant Spider Bug, for example, really is the stuff of nightmares). As with Volume 1, the five 20-minute episodes are here spliced together into a movie-length feature, which makes for a satisfyingly lengthy story arc instead of the more usual self-contained individual episodes. The show's structure also allows for plenty of character development: this time the squad are joined by an alien "skinny" called T'Phai who, as might be expected, has to work hard to bond with the rest of the team and earn their respect. Like all good war stories, at its heart Roughnecks celebrates that "Band of Brothers"-style bonding in extreme circumstances which we viewers can only experience vicariously. On the DVD: The 4:3 picture is good, although it's better to watch with the lights off to see all the detail in the moody (i.e., "dark") CG animation. The 5.1 sound shows off explosions and gunfire, but also the almost incessant techno soundtrack. There's a good commentary from cast and crew members, who talk about their various movie inspirations (from the D-Day landing sequence of Saving Private Ryan to, of course, Aliens) and their desire to parallel real war situations. There's also a photo gallery of the human actors and a trailer. This is a stylish show, and a good DVD.--Mark Walker
Earth is a feature length version of the amazing television series Planet Earth. The documentary follows the migratory paths of four animal families classicly narrated by Patrick Stewart!
Meet The Fockers (2004): And you thought your parents were embarrassing. Domestic disaster looms for male nurse Greg Focker (Stiller) when his straight-laced ex-CIA father-in-law (De Niro) asks to meet his wildly unconventional mom (Streisand) and dad (Hoffman). It's family bonding gone hysterically haywire in this must-see comedy! Meet The Parents - Special Edition (2000): First comes love. Then comes the interrogation! Male nurse Greg Focker (Ben Sti
Taking its cues from director Erik Van Looy's own Belgian thriller of the same name, 'The Loft' sees five married friends embark on a decision to rent their very own loft apartment for exclusive use as a home for their extra-marital affairs.
Race Across America started as the greatest endurance challenge of the century - 100 mile run through Death Valley cycling the 2 500 miles of Route 66 row 250 miles across Lake Erie and a swim 15 miles down the Hudson River - and ended with James Cracknell almost losing his life.
Starring Mel Gibson in his second Hollywood film, The River celebrates traditional American values through the Garvey family's determination to hold onto their farm against all odds. The drama opens with the threat of flooding from the river that adjoins the Garvey's land, then depicts their struggles through ailing livestock, accident and risk of crop failure. Add to these a local businessman, Scott Glenn, planning to turn the valley into a dam, a subplot echoing Deliverance (1972), also filmed in Eastern Tennessee, and all the elements are in place for an emotional triumph-over-adversity movie. Much of The River has a realistic tone, unflinchingly depicting numerous hardships, especially when Gibson has to earn extra money as a strike-breaking hired hand in a steel mill. Against this, and a surprisingly left-wing tone advocating cooperation over competition, the more upbeat moments resort to feel-good cliché with John Williams' lilting score seemingly wandered in from a Spielberg fantasy. Nevertheless the cast, including Sissy Spacek as Gibson's wife, deliver first-rate performances and cinematographer Vilmos Zsigmond expertly captures the harshness and the beauty of the land. The River was one of a trio of major US farming movies in 1984, the others being Country and Places in the Heart. On the DVD: The 1.85:1 anamorphically enhanced image is virtually flawless, capturing the many subtle effects of light on water throughout the film. Released theatrically in stereo, the opening and closing sequences demonstrate the power of a Dolby Digital 5.1 remix in generating atmosphere through natural sound. Elsewhere the audio is less striking, but always clean and powerful. Extras are routine: the US trailer, four brief biographies, and interesting though short production notes. --Gary S. Dalkin
A small-scale gold rush erupts in a Colorado town after treasure is found in a grave. The area quickly becomes a magnet for criminals and other ne'er-do-wells, but everyone is too intent on searching for gold to consider law and order. When Jason McCullough, a clever and supremely laid-back gunslinger, wanders into town, he becomes the de facto lawman, aided by local eccentric, Jake. McCullough's ingenuity is tested, however, when he runs afoul of the tough Danby gang. Starring Academy Award Nominee, James Garner (The Great Escape, The Notebook, Murphy's Romance), Academy Award Nominee, Joan Hackett (Only When I Laugh), Four-time Academy Award Winner, Walter Brennan (Sergeant York, Come and Get It, To Have and Have Not), Jack Elam (Once Upon A Time In The West) and Harry Morgan (M*A*S*H).
Fatal Instinct is a hilarious no-holds-barred send-up of such stylish thrillers as Basic Instinct and Fatal Attraction. Ned Ravine (Armande Assante) is a cop and a lawyer. His wife wants to kill him his secretary wants to sleep with him and there's a mysterious client who wants to sleep with him and kill him. That's Monday. Who knows what Tuesday will bring?
Starring Joanna Lumley and David McCallum Sapphire And Steel was one of the most enigmatic and acclaimed of all ITC-produced adventures. It continues to baffle and delight viewers twenty years later. Sapphire (Lumley) and Steel (McCallum) are the mysterious agents charged with protecting the Universe from the malevolent forces of Time with their uncanny powers. Assignment IV an evil amorphous entity uses photographs to move between time dimensions. It takes over a junkshop and entraps the inhabitants. A golden anniversary party where the guests are being killed off is the subject of Assignment V. Sapphire and Steel meet another element/detective Silver at an abandoned petrol station in Assignment VI and become embroiled in mystery.
Made in 1989, Roger and Me is a loose, smart-alecky documentary directed and narrated by Michael Moore. Here for the first time, the man who won unexpected Oscar glory with Bowling for Columbine exposed audiences to his devastating wit and a working-class pose. When his hometown is devastated by the plant closure of an American corporate giant (making record profits, one should note), the hell-raising political commentator with a prankster streak tries to turn his camera on General Motors Chairman Roger B Smith, the elusive Roger of the title, and the film is loosely structured around Moore's odyssey to track down the bigwig for an interview. While Moore ambushes his corporate subjects like a blue-collar Geraldo Rivera, a guerrilla interviewer who treasures his comic rebuffs as much as his interviews, his portraits of the colourful characters he meets along the way can be patronising. The famous come off as absurdly out of touch (Anita Bryant appears for some can-do cheerleading, and hometown celebrity Bob Eubanks tells some boorish jokes), and the disenfranchised poor (notably an unemployed woman who sells rabbit meat to make ends meet) all too often appear as buffoons or hicks. But behind his loose play with the facts and snarky attitude is a devastating look at the victims of downsizing in the midst of the 1980s economic boom. This portrait of Reagan's America and the tarnish on the American dream comes down to a simple question: what is corporate America's responsibility to the country's citizens? That's a question no-one at GM wants to answer. --Sean Axmaker
In the third series of Angel the titular vampire with a soul was forced to stand alone thanks to the (temporary) death of his beloved Buffy and her show's move to a new network, with no crossover between the two allowed. He returns from seeking peace in a demon-haunted monastery to find the LA Angel Investigations team fighting supernatural crime in his absence. Fred is still haunted by the nightmare dimension from which they rescued her; Cordelia's visions get ever more painful and debilitating. The schemes of the evil law firm Wolfram and Hart become every more imaginative and dragon lady Lilah Morgan becomes even more of an enemy when lusting after Angel. Unbelievably, Darla, Angel's vampire sire and lover, turns up, pregnant with his child and is tortured by inexplicable motherly feelings as well as a raging thirst for human blood. For a few episodes things go pretty well--but Angel's enemies, both those he has made in his quest for redemption and those he made when he was unadulterated evil, are still out there. Stephanie Romanov comes into her silky own in this series, making Lilah Morgan all the more seductively evil because she is clear about the choices she has made; the satanic law-firm of Wolfram and Hart are this show's most inspired creation. As the series moves to its close, Wesley (Alexis Denisof) has hard choices to make. The devastating climax is compulsive viewing and this series also contains one of the most impressive single episodes of the entire show: in "Waiting in the Wings" writer, director and creator Joss Whedon comes up with a classic ghost story as Angel and his crew go to the ballet and find a performance that is literally timeless. On the DVD: Angel, Series 3 DVD box set is generously stocked with extra features--a season overview, commentaries on three episodes, a documentary on the way scripts are transferred to screen, and an overview of the story of the doomed vampire Darla. Of especial interest to fans are two deleted scenes--one from the ballet episode "Waiting in the Wings", in which Amy Acker (Fred) and Alexis Denisof (Wesley) dance a pas de deux at once touching and hilarious, and the other a hilarious scene from "Cordy", the cute situation comedy in which Cordelia stars in an alternate universe. --Roz Kaveney
A Boeing 747 full of passengers is on its scheduled route from Australia to California but soon events unfold to make this flight far from normal. A sadistic psychopath intent on dreadful revenge has hidden a time bomb armed with deadly nerve gas deep inside the aircraft's cargo hold. Time is running out. Pilot John Prescott (Jack Wagner) commands in the air - on the ground working out the logistics for survival are a crack team of FBI agents assisted by the Australian police force - the tense battle is on to prevent a horrific mid-air catastrophe!
No parents. No rules! A group of teenage runaways - fleeing abusive parents prostitution drugs and educational isolation - try to survive together on the mean streets of Los Angeles... An all-star cast takes you on an unforgettable tour of Hollywood's notorious underground; from the after-hours dance clubs to the hidden drug dens it's a no holds barred look at life in the fast lane.
In one of the most pristine landscapes in the world a team working to exploit oil resources of Alaska is tormented by an unseen evil. After one crewmember is found dead a disorientation slowly claims the sanity of the other members of the team as each of them succumbs to an unknown fear. This creeping dread bursts open when a malevolent wind brings down a plane that approaches the station. Explosions and carnage wreak havoc on the team and all functions fail in the camp forcing tw
Carry On Doctor (1967): Frankie Howerd is the guest star in this classic 'Carry On..' He plays Francis Bigger a charlatan faith healer who ends up in hospital and what a hospital it is! Dr. Kilmore (Jim Dale) seems more interested in the staff nurses and Dr. Tinkle (Kenneth Williams) dismisses all ill health as a weakness. The Matron (Hattie Jaques) can cure any medical problem with a frosty glance and the nurses are always raising the blood pressure of the patients in the male ward.... much to their delight of course. Carry On Matron (1972): Carry On Matron is one of the most loved of all Carry On films - largely because of Hattie Jacques' marvellous performance in the title role. If your funny bone is in need of tickling this is the prescription you need! Carry On Matron finds the team in top form in Finisham Maternity Hospital. Sid James leads a team of less than professional crooks intent on stealing a huge hoard of birth control pills. Carry On Again Doctor (1969): If you are seriously ill and need to go to hospital just make sure it isn't the Long Hampton Hospital as this is where the Carry On team have taken up malpractice. If it's laughter you're after join eminent surgeon Frederick Carver orderly Screwer and Doctors Stoppidge and Nookey for a prescription of smutty smiles. It's the perfect tonic you should take as regularly as your funny bone allows. Where there's a pill there's a way! That's Carry On (1977): Celebrating twenty years of classic Carry On films two of the film's best loved stars Kenneth Williams and Barbara Windsor return to Pinewood Film Studios to unwrap some rib-tickling moments to the series. From the original military mayhem of 'Carry On Sergeant' through to the really ancient archaeological gags of 'Carry On Behind' our saucy hosts get their titters out for this laugh-a-second gallop through the most successful series of British comedy films ever made. With a cast of thousands including legendary Sid James Charles Hawtry Joan Sims Peter Butterworth Bernard Breeslaw and Hattie Jacques everyone is in it..... right in it! Carry On Loving (1970): Number 19 in this famous series. Sid James and Hattie Jacques run The Wedding Bliss computer dating agency and guess what? Chaos follows! Carry On Emmannuelle (1978): The Carry On team are back with this their 30th film and the laughs are filthier and funnier than ever before! Emmanuelle Pervert (Suzanne Danielle) Is the fascinating delectable young wife of Emile (Kenneth Williams) the French ambassador for Great Britain. With his sexual prowess damaged in a freak parachuting accident Emmanuelle happily proves her charms are irresistable to all members of the opposite sex. Even the servants are not immune: With the chauffeur Leyland (Kenneth Connor) the butler Lyons (Jack Douglas) and the elderly bootboy Richmond (Peter Butterworth) falling helplessly under her spell...
The fifth season of Joss Whedon's hit series started out in excellent form as slayer extraordinaire Buffy Summers (Sarah Michelle Gellar) did battle with the most famous of vampires (that Dracula guy) and then went on to spar with another nemesis, little sister Dawn (Michelle Trachtenberg). Wait--Buffy has a teenage sister? Where has she been the past four years? And why is everyone acting like she's always been around? Turns out that young Dawn is actually "The Key," a form of pure energy that, true to its name, helps open the gates between different dimensions. To protect said key from falling into the wrong hands, a group of monks gave it human form and sent it to the fiercely protective Buffy for safekeeping, creating new memories of Dawn for everyone as if she'd existed... well, always. Why all the super secrecy? There's this very, very, very bad girl named Glory (Clare Kramer) who wants the key very badly, and will do anything to get it. Oh, and by the way, Glory isn't just a run-of-the-mill demon... she's way worse. Some fans will tell you that Buffy "jumped the shark" with the introduction of Dawn, when in actuality this season was the pinnacle of the show's achievement, as there was superb comedy to be had ("Buffy Vs. Dracula," the double-Xander episode "The Replacement," the introduction of the "Buffybot" in "Intervention") as well as some of television's best drama. The Whedon-scripted and -directed "The Body" remains one of Buffy's best episodes, when the young woman who faces down supernatural death on a daily basis finds herself powerless in the wake of her mother's sudden passing. The first third or so of the season was a bit choppy, but once the evil Glory came into her own, Buffy was a television force to be reckoned with. Kramer was the show's best villain (after the evil Angel, natch), and the supporting cast was never better. But as always, it was the superb Gellar who was the powerful centre of the show, sparking opposite lovelorn vampire Spike (James Marsters) and wrestling with moral dilemmas rarely seen on television. With this season, Buffy Summers became, like Tony Soprano, one of television's true greats. --Mark Englehart
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