Stan and Ollie are on holiday in Paris when Ollie falls in love with the beautiful daughter of an innkeeper. On discovering she is already married Ollie decides that the only way to get over the disappointment is to join the Foreign Legion - dragging poor old Stan along for company. The boys wreak havoc at the training camp and are arrested for desertion before escaping in a stolen airplane where they take a ride they will never forget! The Flying Deuces is unique as it was made in 1939 as an independent picture unlike most Laurel & Hardy movies that were made under the guidance of Hal Roach. It is classic laugh a minute entertainment and is renowned by fans the world over as being one of their finest pieces.
Produced in a time when films were both literally and figuratively black and white, Made for Each Other was unique in its effective blending of the comedic, the dramatic and, as perhaps some would insensitively say, the melodramatic. Beautiful Carole Lombard and likeable James Stewart are Jane and John Mason, a couple who meet, fall madly in love, marry and quickly have a baby. But while they--and the audience--are confident that they are meant for each other, life intercedes and the couple must meet with disapproving in-laws, job stress, financial challenges and, finally, a devastating illness.Lombard and Stewart--and the genuinely good people they portray--are utterly compelling and charming. Say yawningly what you will about tradition but the Masons' path is one that many, if not most, go down. And unlike the wonderful but wholly fantasy world of peer Preston Sturges, director John Cromwell's universe is, like real life, full of ups and downs. It's an accessible, sensitive portrayal. He gives the audience characters they want to see succeed, and to see stay together in the process. It may be a tale of triumph of the human spirit but its ultimate sentiment--one that celebrates the kindness of strangers--is thoroughly sweet, though in no way saccharine. Look for a great supporting cast, including a blustery Charles Coburn as John Mason's boss and Lucile Watson as Mason's interfering mother. --N F Mendoza
Academy Award ® Nominees James Franco* (Homefront) and Kate Hudson** (The Killer Inside Me) star in GOOD PEOPLE as a debt-ridden couple who discover a hidden bag of cash in their dead tenant's apartment. When they decide to spend it, they find themselves pulled deeper and deeper into a world of deception and they soon become the target of a deadly adversary Academy Award® Nominee Tom Wilkinson*** (The Grand Budapest Hotel), Omar Sy (X-Men: Days of Future Past) and Anna Friel (Limitless) also star in this contemporary action-thriller.
A stupendous historical saga, Braveheart won five Oscars, including Best Picture and Best Director for star Mel Gibson. He plays William Wallace, a 13th-century Scottish commoner who unites the various clans against a cruel English King, Edward the Longshanks (Patrick McGoohan). The scenes of hand-to-hand combat are brutally violent, but they never glorify the bloodshed. There is such enormous scope to this story that it works on a smaller, more personal scale as well, essaying love and loss, patriotism and passion. Extremely moving, it reveals Gibson as a multitalented performer and remarkable director with an eye for detail and an understanding of human emotion. (His first directorial effort was 1993's Man Without a Face.) The film is nearly three hours long and includes several plot tangents, yet is never dull. This movie resonates long after you have seen it, both for its visual beauty and for its powerful story. --Rochelle O'Gorman
Titles To be confirmed.
Jack Frost
The Great Escape (Dir. John Sturges 1963): In 1943 the Germans opened Stalag Luft North a maximum-security prisoner-of-war camp designed to hold even the craftiest escape artist. In doing so however the Nazis unwittingly assembled the finest escape team in military history - brilliantly portrayed here by Steve McQueen James Garner Charles Bronson and James Coburn - who worked on what became the largest prison breakout ever attempted. One of the most ingenious and suspenseful adventure films of all time The Great Escape is a masterful collaboration between director John Sturges screenwriters James Clavell and W.R. Burnett and composer Elmer Bernstein. Attack (Dir. Robert Aldrich 1956): With a company of American soldiers trapped by the Germans during The Battle of the Bulge their captain is an abject psychopathic coward who has a record of exposing his men to danger. When his cowardice turns to sheer panic during combat it becomes necessary for the enlisted men to take things into their own hands...
Mutant X takes the useful SF trope of the mutant minority persecuted by the state and adds potentially interesting spins on which it rarely delivers. After a couple of pilot episodes that pushed into OTT visual stylishness, the show has settled into mildly repetitive though watchable blandness: for the most part it avoids story arcs and a large cast of regulars in favour of plugging its characters into the stock plots of television SF, such as doubles, vengeance crusades and untrustworthy lovers. On the DVD: Mutant X Series 1, Volume 4 contains the following episodes: "The Lazarus Syndrome". Both Emma and GSA agent Pamela are targeted by Caleb, a vampiric mutant whose kiss drains life force from mutants and who rises again each time he is killed. "Interface". Emma tries to convert her school friend Michelle, a GSA agent and super-hacker; their escape from GSA is easy, perhaps too easy. "Presumed Guilty". A memory-stealing mutant frames Adam for a murder and Eckhart exploits the situation to find out Mutant X's whereabouts. "Ex Marks the Spot". Shalimar's unreliable former lover Zack involves Mutant X in the heist of a Faberge egg in which important genetic code has been hidden. The DVDs also contain trailers and interviews with Michael Shea (Adam) and show runner Howard Chaykin. --Roz Kaveney
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
When Lisa Temple wakes up in the hospital she remembers nothing: her name who she was her wealthy husband Paul's intention to divorce her or how she came to be badly beaten and left for dead in an alley. When Paul takes her back home Lisa is like a child who must relearn everything; from how food tastes to how to make love. At first Paul believes she is play-acting but seeing her new joy in life he remembers the woman he first fell in love with...
The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: this ambitious TV series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there is the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood.The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his mid-level capo's machismo, yet instantly recognisable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.Unlike Francis Coppola's operatic dramatisation of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchman and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed.The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr Melfi, a convincing confidante, by turns "professional", perceptive and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what is not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland, Amazon.com
A young Mexican man slips across the border to America in the hope of finding work to support his new family back at hope. But instead of being the land of opportunities he finds America to be full of hardship and exploitation.
A group of divers find themselves in deep trouble after they come upon the illicit cargo of a sunken airplane.
The C.I.A. inherit footage of the slaughter of a Hollywood movie crew while on location. One crew member the teenage daughter of the slain director escapes the carnage to tell the blood-thirsty tale of staying alive and a counter-revolutionary army's ruthless objectives that must be stopped!
In 1959 screenwriter Rod Serling first opened the door to the "dimension of imagination" that is The Twilight Zone, a show quite unlike anything that had gone before, and better than much that has followed in its wake. This original and daring television series ran for a magnificent five seasons from 1959 to 1964 and still looks as fresh as ever, particularly on DVD. What distinguished the series (and still does) is the quality of the scripts, many of which were penned by Serling, but with significant contributions from veteran sci-fi authors and screenwriters such as Richard Matheson. Actors of the calibre of Robert Redford, Burgess Meredith, Lee Marvin and William Shatner gave some of their best small-screen performances, while an unforgettable main title theme by Bernard Herrmann and musical contributions from young turks such as Jerry Goldsmith underlined the show's attraction for great creative talent both behind and in front of the cameras. --Mark Walker
Cabin Fever: There's a killer in the woods... one you can't hear... one you can't see... one you can't escape. Fresh out of college Jeff Karen Paul Marcy and Bert head up to a remote cabin for a weekend of alcohol drenched sex and sunbathing. When Karen gets sick they grow paranoid that they have become infected with a flesh-eating virus. The struggle against the repulsive killer turns into a battle against friends as fear drives them to turn on each other in the fight for survival. Director Eli Roth takes the horror genre back to its roots and reminds us of how risky and totally insane horror movies used to be. The Blair Witch Project: Now prepare for a motion picture experience unlike anything you've ever seen heard or feared before. The Blair Witch Project follows a trio of filmmakers on what should have been a simple walk in the woods but quickly becomes an excursion into heart-stopping terror. As the three become inexplicably lost morale deteriorates hunger sets in accusations fly. By night unseen evil stirs beyond their campfire's light. By day chilling ritualistic figures are discovered nearby. As the end of their journey approaches they realise that what they are filming now is not a legend but their own descent into unimaginable horror.
Bill And Ted's Excellent Adventure: Bill and Ted are two cool dudes, but to their teacher they are high school no-hopers. They fantasise about forming a band called 'Wyld Stallyns' - one day they'll put themselves together and learn to play guitar. But unless Ted achieves the seemingly impossible and passes a history presentation, he will be shipped off to military school. End of friendship. ; A figure from the future appears in the nick of time, providing a time-travelling phone booth...
To the one I love...Prepare to die The Kouga and the Iga two ninja clans with four hundred years of hostilities between them meet at the request of Lord Ieyasu. There they learn that the peace forced upon them is to be broken by the whim of royalty and that the outcome of this battle will determine the next Shogun. The passions of the past quickly reignite as two scrolls are sent out into the night. Ill-fated is this event indeed for lovers stand with hands entwined as travesty approaches on the wings of a hawk. Reared from birth as sworn enemies Gennosuke and Oboro each the heir of these rival clans seek lasting peace between their peoples. But the terms have been set and two lists seal their destinies. Two lists from which a name can only be crossed out in blood. No mercy will be spared to the enemy.
A band of merciless outlaws led by the ruthless 'Black' Jack Pickett (Gary Busey - 'Lethal Weapon' - 'Under Siege') has been blazing a trail of murder and destruction through the frontier towns of Arizona.In an attempt to bring justice to the lawless West U.S. Ranger Moses Logan (Jeff Fahey - 'The Lawnmower Man' - 'Wyatt Earp) relentlessly pursues Pickett to the small town of Ghost Rock.This peaceful town has been taken over by Pickett and his gang. Out-manned and out-gunned Logan joins forces with the famed bounty hunter John Slaughter (Michael Worth - 'US Seals' - 'Fists Of Iron') and a mysterious female gunfighter (Jenya Lano - 'Blade') to unleash war on Pickett in the streets of Ghost Rock.
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