Giant (1956): George Stevens' sweeping Oscar-winning epic about the cataclysmic effect the discovery of oil in Texas has on the lifestyle of the former cattle barons. Dean is Jett Rink a sullen-farm hand who becomes a millionaire overnight. Tough always angry restless bewildered and reckless Rink's animal charm and tycoon's magnetism means he always gets his way. But when he fails in love with Leslie he loses his way with an equal violence... East Of Eden (1955): J
More ambitious in scope than any of its other animated films (before or to come), Disney's 1940 Fantasia was a dizzying, magical and highly enjoyable marriage of classical music and animated images. Fantasia 2000, originally made for the IMAX large-screen format, features some breathtaking animation and storytelling, and in a few spots soars to wonderful high points, but it still more often than not has the feel of walking in its predecessor's footsteps as opposed to creating its own path. A family of whales swimming and soaring to Respighi's The Pines of Rome is magical to watch, but ends all too soon; a forest sprite's dance of life, death and rebirth to Stravinsky's The Rite of Spring too clearly echoes the original Fantasia's Night on Bald Mountain/Ave Maria sequence. But when it's on target, Fantasia 2000 is glorious enough to make you giddy. Hans Christian Andersen's "The Steadfast Tin Soldier" is a perfect narrative set to Shostakovich's Piano Concerto No. 2, and Donald Duck's guest appearance as the assistant to Noah (of the Ark fame) set to Elgar's Pomp and Circumstance marches is a welcome companion piece (though not an equal) to The Sorcerer's Apprentice, the one original Fantasia piece included here. The high point of Fantasia 2000, though, is a fantastic day-in-the-life sequence of 1930s New York City set to Gershwin's Rhapsody in Blue and animated in the style of cartoonist Al Hirschfeld; it's a perfect melding of music, story and animation style. Let's hope future Fantasias (reportedly in the works) take a cue from the best of this compilation. The music is provided by the Chicago Symphony Orchestra, conducted by James Levine, interspersed with negligible intros by Steve Martin, Bette Midler, Itzhak Perlman, James Earl Jones and others. --Mark Englehart
Gigolo con-man Latigo Smith needs to get something off his chest - the tattooed name of his most recent ex-fiance. But while he is waiting for the local doctor to sober up and perform the operatio Smith overhears that local mining baron Taylor Barton is looking to shut down his mining competition by hiring the notorious gunman Swifty Morgan. Seizing the opportunity for an easy con Smith passes off a reprobate cow-hand as the dreaded Swifty and pockets the cash. Bank roll in hand
The fearless explorers from Disney's hit animated movie 'Atlantis: The Lost Empire' are back. During his initial expedition Milo Thatch and company located the famous underwater city and rescued the mysterious kingdom and all its people. Now Milo Kida and their team gear up for more action when trouble surfaces above water but they discover mystifying powers at work. From the dusty deserts of the Southwest to the icy heights of the Nordic mountains the team's newest quest sets
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
Coincidence throws Mij the otter and Graham Merrill (Bill Travers) the computer worker together on a busy London street in Ring of Bright Water. What transpires from this chance meeting is an epiphany that leads to the complete upheaval of Graham's life. Evicted from his city flat thanks to the antics of his newly acquired, mischievous otter, Graham embarks on a train journey to the Scottish Highlands. Suffice it to say that trying to smuggle Mij onboard as a "diving terrier" is not successful. When the pair finally arrives in Scotland, they fall in love with the countryside and a dilapidated cottage by the sea. Fate introduces Graham to the town's animal-loving doctor (Virginia McKenna), and an enduring friendship and romance are forged. The photography of both the Scottish Highlands and the antics of Mij the otter in this 1969 movie are truly wonderful--it might just make you reconsider your current digs and friendships. The story (based on Gavin Maxwell's book of the same name) is somewhat formulaic and dated by its romanticism, but enjoyable nonetheless. Slip into an ideal world of simple happiness and celebrate the cyclical nature of life, if only for 106 minutes. --Tami Horiuchi, Amazon.com
An extraordinarily racy movie for its time, The Wicked Lady was and still is as notable for its acres of heaving bosom as for its radical challenge to female stereotypes. This bodice-ripper about a bored aristocratic woman who turns highwayman just for kicks became a huge box-office success in post-war Britain, but Margaret Lockwood's eloquent bust proved a bit too expressive for Hollywood, so the film was expensively reshot for a sanitised US release. (From 1945 right up to Janet Jackson at the 2004 Superbowl, American audiences apparently have an enduring problem with those prominent parts of the female anatomy). This is the definitive Gainsborough picture, a period romp crammed with cads, in which the camera gazes lasciviously down (it's all shot from a male eyelevel) at the low-cut ladies' dresses. But this time the female anti-heroine gives as good as she gets... and then some. Lockwood's Lady Barbara Skelton is quite gleefully amoral--more so even than Thackeray's arch-manipulator Becky Sharp from Vanity Fair--failing even to pay lip service to the moral standards of the 1940s, let alone those of the 17th century. It is she who wears the trousers (quite literally, in her highwayman guise) while the weak-chinned and weak-willed men around her crumble under the weight of their conventionality. Only James Mason's handsome dandy highwayman can keep up with her, but even he has to draw the line somewhere. Ultimately, social mores reassert their grip and Lady Barbara gets her comeuppance, but not before she's overturned every contemporary movie convention about femininity. "She was the wickedest woman ever seen on the screen", trumpets the original theatrical trailer on this otherwise bare-bones DVD release: it's still probably true even today. --Mark Walker
After a number of undercover narcotics agents are found dead the police enlist the help of a karate champion named Matt Logan who soon discovers that a traitor is responsible for the killings.
Collection of three classic James Dean films. In 'East of Eden' (1955) two brothers compete for the love of their stern, overbearing, widowed father. However, when Cal (Dean), the rejected 'rebel' son, discovers that his mother is not dead but running a nearby brothel he tells his brother Aron (Richard Davalos). This leads to the destruction of not only his relationship with Aron but also his father. 'Giant' (1956) is an epic saga which begins when Texas cattle baron Bick Benedict (Rock Hudson) takes a non-Texan wife, Leslie (Elizabeth Taylor). The story then traces two generations of his family, alongside the life of disreputable ranch-hand Jett Rink (Dean), who strikes it rich on an oil well and falls in love with Leslie. Director George Stevens won an Oscar for his work and the film garnered nine more nominations, including one for Dean, who was killed soon after filming. Finally, 'Rebel Without a Cause' (1955) takes place over a 24-hour period and follows Jim Stark (Dean), a restless teenager who is always in trouble with the law. When Jim is picked up for being drunk and disorderly he notices Judy (Natalie Wood) at the police station and determines to ask her on a date at high school the next day, which leads him into conflict with her boyfriend Buzz (Corey Allen).
The 20th Anniversary special edition includes a set of five exclusive Gruffalo postcards. The Gruffalo is one of the most loved children's stories of all time and tells the story of a mouse who is forced to rely on his wits for survival when confronted by three hungry animals. To scare them away he invents an imaginary monster with terrible teeth and terrible claws. But what happens when he comes face to face with his own creation? Featuring an all-star voice cast of Helena Bonham Carter, Rob Brydon, Robbie Coltrane, James Corden, John Hurt, and Tom Wilkinson. Also available in the collection of much-loved family films based on the wonderful books written by Julia Donaldson and illustrated by Axel Scheffler, are: The Gruffalo's Child, Room On The Broom, Stick Man, The Highway Rat and Zog.
A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom. Click Images to Enlarge
The American domestic epic endured long into the post-war era, with Giant (1956) one of its last real manifestations. Director George Stevens gets real panoramic sweep in his adaptation of Edna Ferber's novel of social and economic change in rural Texas from the 1920s to the 1950s. Rock Hudson is imposing if uninvolving as rancher Vernon Reata II, constantly torn between his image and his humanity. As his wife Lesley, Elizabeth Taylor gives one of her most rounded performances as the Maryland girl whose liberal outlook causes friction within the social (and racial) mindset of the insular community as it lurches from rigid conservatism to mindless materialism over three decades. The film is best remembered for James Dean in what was his third and last screen appearance. He cuts a distinctive figure as Jet Rink, social outcast turned oil tycoon. The bravura of his inebriated speech before an empty banqueting hall would be no less memorable had his career not been curtailed days after shooting ended. The secondary roles are decently taken: look out for a teenage Denis Hopper, sallow but likeable as the gauche Vernon Reata III. On the DVD: Giant is evenly divided over two discs. Widescreen picture quality is excellent and the remastered soundtrack gives Dimitri Tiomkin's score a new lease of life. A laudable 56 chapter points are provided, with dubbing in English, French and Italian and subtitles in eight languages. A running commentary, though informative, is really for aficionados only, but the 45 minutes (on the second disc) of George Stevens recollections from heavyweights such as Herman J. Mankiewicz, Alan J Pakula and Fred Zinnemann ideally complements this sprawling but often compulsive old-school American movie. --Richard Whitehouse
Sensitive singer-songwriter, soft-rock poster boy, baby-boomer troubadour: James Taylor has outlived the stereotypes offered by fans and critics alike by simply staying his musical course and continuing to refine his familiar, deceptively mellifluous style. This 1998 concert displays Taylor's craftsmanship and easy rapport with both his band and his audience to satisfying effect, offering a repertoire that draws from his entire career while providing a generous selection of songs from his Grammy-winning 1997 set, Hourglass. Fans will love it, of course, but even jaded listeners can find fresh feeling and formidable expertise here.By now, Taylor's skill at low-key love songs is a given, making him an archetypal "sensitive New Age guy" on the strength of his canny mix of emotional vulnerability, romantic imagery, and understated delivery. Less obviously, Taylor has gradually transformed the shadows of disillusionment audible in his earliest songs into a nuanced acknowledgement of his own age. "Line 'Em Up," from Hourglass, typifies his skill at limning disarmingly lucid, frankly philosophical vignettes, here woven around a recollection of Richard Nixon's last hurrah, while "Jump Up Behind Me" affords a testament to self-determination ultimately as serious in theme as it is buoyant in its musical framework. Throughout, Taylor's stage band proves a thoroughbred, its accompaniment rock solid and delicately detailed, and perfectly matched to a crack backing chorus.Among the first video concerts produced with DVD in mind, Live at the Beacon Theatre has been in heavy rotation in home demonstration suites ever since its release, an achievement understandable after hearing the crystalline 5.1 mix engineered by Frank Filipetti, who shared a Grammy as co-producer on Hourglass and snagged a second award for his engineering of that album. --Sam Sutherland, Amazon.com
The very first film in the ever popular Doctor series. Here we are first introduced to Simon Sparrow (Dirk Bogarde) and follow his hilarious adventures as a student doctor in St. Swithins Hospital - from naive bumbling trainee to his first day as a fully qualified doctor. In these early formative years he learns how to cope with the occupational hazards of being a medical student such as fiery ward sisters frightening surgeons over-knowledgeable patients the eccentricities o
Workmen unearth prehistoric skulls while carrying out excavations on the London Underground. Very soon a strange and malevolent force is unleashed.
Although it could have been twice as long, this double-DVD set effectively captures over three hours of highlights from one of the most comprehensive and diverse collection of guitarists ever assembled for a single event. Recorded over three days in June of 2004 to benefit Eric Clapton's Crossroads Center in Antigua (as do the sales of this set), the show is not surprisingly heavy on the rootsy blues and country that comprise Clapton's primary inspirations. But it also includes folk (James Taylor), gospel (Robert Randolph & the Family Band), fret-shredding rockers (Steve Vai who delivers a dazzling performance), jazz (John McLaughlin), and, most interestingly, Indian classical music (a stunning piece from Vishwa Mohan Bhatt). Most compelling are the rare and sometimes unusual collaborations. Joe Walsh and Taylor clown around on "Steamroller Blues" and Booker T. & the M.G.'s back both Joe Walsh on a rollicking "Rocky Mountain Way" and Los Lobos' David Hidalgo tearing into a sizzling "The Neighborhood". Clapton and J.J. Cale share the stage as do Clapton and Carlos Santana, and a show-stopping blues summit with Robert Cray, Jimmie Vaughan, Hubert Sumlin, B.B. King, Buddy Guy, and Clapton is a treat for all involved. There are some shortcomings. The event isn't presented in chronological order--different stages, days, and backing bands are shuffled with Clapton's own set scattered throughout--ZZ Top's closing is a bit anticlimactic, and there are many omissions due to time constraints. But every act rises to the occasion, and this expertly recorded and shot DVD gives the viewer a front-row seat to a once-in-a-lifetime experience. --Hal Horowitz
Their world is a two-lane blacktop... no beginning... no end... no speed limit! In this controversial and acclaimed story of drag-racing drifters the drivers of a Pontiac GTO and a '55 Chevy battle across the back roads of America for possession of each others 'pinks' and the affections of a mysterious young hitchhiker. Featuring top hits by The Doors and Kris Kristofferson the film roars across a landscape of unexpected turns and startling twists. Two-Lane Blacktop is directed by cult legend Monte Hellman (director of The Shooting and Cockfighter and Executive Producer of Reservoir Dogs) from a screenplay by Rudolph Wurlitzer (Pat Garrett & Billy The Kid) and features unforgettable performances by Warren Oates (The Wild Bunch) as well as singer/songwriter James Taylor and the Beach Boys Dennis Wilson in their first - and only - acting roles.
Doctor Dolittle Betty Thomas directs and Eddie Murphy stars in Doctor Dolittle, the 1998 hit film which, while ostensibly aimed at children, has a high quotient of hip and even mildly gross humour. Murphy stars as John Dolittle, whom we see as a child talking to a neighbourhood dog who explains that the reason mutts sniff each others' butts is to assess their characters when first meeting them. Little John promptly tries this out on being introduced to his school principal. Warned off such social eccentricity, Dolittle stops talking to animals and as an adult becomes a respectable doctor running his own medical practice--until a bump on the head revives his capacity to understand animals, whereupon mayhem, mortification and a menagerie of needy and freeloading creatures are heaped upon his ordered existence. Murphy plays it relatively straight. It's the animals, some of them vividly enhanced by Jim Henson's animating team, who provide the real laughs here, and a thoroughly worldly, wisecracking bunch of characters they prove to be. There's a couple of hard-boiled, squabbling rats, a pigeon who complains of impotence, Rocky the guinea pig (voiced by Chris Rock) with a neat line in hip backchat, while Albert Brooks voices the gruff, melancholy tiger whose life Dolittle must try to save. A sweet but by no means saccharine comedy. --David Stubbs Dr Dolittle 2It's only a marginal improvement, but Dr Dolittle 2 defies the odds by rising above its popular 1998 predecessor (and once again, let's not confuse these movies with the earlier Rex Harrison musical). Eddie Murphy plays the title role with ease and with the confident professionalism of a comedian who knows when to share the spotlight--especially when he's being upstaged by a bunch of animals who steal all the punch lines. And once again the film is aimed at a pre-teen audience: so many of those punch lines involve flatulence, bodily functions and frequent use of the word "butt". The difference this time is that Dr Dolittle has settled into his talk-to-the-animals routine; his 16-year-old daughter (Raven-Symone) is getting to be a feisty handful (it turns out she's coping with a hereditary gift); and his lawyer wife (Kristen Wilson) is representing him in a trial against corporate villains who want to clear-cut a local forest. Naturally, the local critter mafia (their Don is a beaver... fuggeddaboudit!) want Dolittle to fight for their cause, and this involves the successful mating of an endangered bear and a domesticated circus bear who's forgotten all the bear necessities of life in the wild. The bears are voiced by Lisa Kudrow and Steve Zahn and they almost steal the show, but the whole menagerie (with digitally animated "talking") is equally amusing. Adults might wish that the filmmakers had tried harder to make a truly memorable sequel, but this is a movie for kids, and they're going to love it without quibbling. --Jeff Shannon, Amazon.com
Kevin, a man with at least 23 different personalities, is compelled to abduct three teenage girls. As they are held captive, a final personality - The Beast - begins to materialize. Click Images to Enlarge
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