One of the most compelling and conflicted characters in Sony Pictures Universe of Marvel Characters comes to the big screen as Oscar® winner Jared Leto transforms into the enigmatic antihero Michael Morbius. Dangerously ill with a rare blood disorder and determined to save others suffering his same fate, Dr. Morbius attempts a desperate gamble. While at first it seems to be a radical success, a darkness inside him is unleashed. Will good override evil or will Morbius succumb to his mysterious new urges?
Blu-ray Disc Special Features: Designing the World of Blade Runner (Exclusive to Blu-ray) Blade Runner 101 Prologues 2036: Nexus Dawn Blade Runner 101 Prologues 2048: Nowhere to Run Blade Runner 101 Prologues 2022: Blackout
On April 26, 1986, the Chernobyl Nuclear Power Plant in Ukrainian SSR suffered a massive explosion that released radioactive material across Belarus, Russia and Ukraine and as far as Scandinavia and Western Europe. Dramatising the true story of the 1986 nuclear accident, one of the worst man-made catastrophes in history, Chernobyl shines a light on the brave men and women who fought an unprecedented war against an invisible enemy, and who suffered and sacrificed, saving millions of lives, often at the cost of their own.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K [Ryan Gosling], unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard [Harrison Ford], a former LAPD blade runner who has been missing for 30 years.
One of the most compelling and conflicted characters in Sony Pictures Universe of Marvel Characters comes to the big screen as Oscar® winner Ja
Given that Resident Evil is a Paul Anderson movie based on a computer game which was itself highly derivative (especially of George A Romero and James Cameron films), it's probably unfair to complain that it hasn't got an original idea or moment in its entire running time. In the early 1980s, Italian schlock films such as Zombie Flesh Eaters and Zombie Creeping Flesh tried to cram in as many moments restaged from American originals as possible, strung together by silly characters wandering between monster attacks. This is a much-improved, edited, photographed and directed version of the same gambit. As amnesiac Milla Jovovich remembers amazing kung fu skills and anti-globalist Eric Mabius mutters about evil corporations, a gang of clichéd soldiers with nary a distinguishing feature between them (except for Michelle Rodriguez as a secondary tough chick) are trapped in an underground scientific compound at the mercy of a tyrannical computer--which manifests as a smug little-girl-o-gram--fending off flesh-eating zombies (though gore fans will be disappointed by the film's need to stay within the limits of the 15 certificate) and CGI mutants, not to mention the ever-popular zombie dogs. It's tolerably action-packed, but zips past its borrowings (Aliens, Cube, Deep Blue Sea) without adding anything that future schlock pictures will want to imitate. On the DVD: Resident Evil on disc has the expected trailers, both teaser and theatrical; a half-hour making-of; zombie make-up tests; featurettes on music (with Marilyn Manson), production design and costume. A lively commentary track features Anderson, Jovovich, Rodriguez and producer/zombie Jeremy Bolt--Jovovich upbraids Anderson for talking about different gradings of film stock over her nude scene and everyone else talks about how much she hurt them by punching them out during action sequences. Anderson mentions an alternate commentary track with visual effects designer Richard Yuricich, but it isn't included. --Kim Newman
As with the great John Ford (Young Mr. Lincoln) before him, it would be out of character for Steven Spielberg to construct a conventional, cradle-to-grave portrait of a historical figure. In drawing from Doris Kearns Goodwin's Team of Rivals, the director instead depicts a career-defining moment in the career of Abraham Lincoln (an uncharacteristically restrained Daniel Day-Lewis). With the Civil War raging, and the death toll rising, the president focuses his energies on passage of the 13th Amendment. Even those sympathetic to the cause question his timing, but Lincoln doesn't see the two issues as separate, and the situation turns personal when his son, Robert (Joseph Gordon-Levitt), chooses to enlist rather than to study law. While still mourning the loss of one son, Mary (Sally Field) can't bear to lose another. Playwright Tony Kushner, who adapted the screenplay, takes a page from the procedural handbook in tracing Lincoln's steps to win over enough representatives to abolish slavery, while simultaneously bringing a larger-than-life leader down to a more manageable size. In his stooped-shoulder slouch and Columbo-like speech, Day-Lewis succeeds so admirably that the more outspoken characters, like congressman Thaddeus Stevens (Tommy Lee Jones) and lobbyist W.N. Bilbo (James Spader), threaten to steal the spotlight whenever they enter the scene, but the levity of their performances provides respite from the complicated strategising and carnage-strewn battlefields. If Lincoln doesn't thrill like the Kushner-penned Munich, there's never a dull moment--though it would take a second viewing to catch all the political nuances. --Kathleen C. Fennessy
In 1942, an intelligence officer in North Africa encounters a female French Resistance fighter on a deadly mission behind enemy lines. When they reunite in London, their relationship is tested by the pressures of war. Bonus: Story of Allied From Stages to the Sahara: The Production Design of Allied Through the Lens: Directing with Robert Zemeckis 'Til Death Do Us Part: Max and Marianne A Stitch in Time: The Costumes of Allied Guys and Gals: The Ensemble Cast Lights, Pixels, ACTION! The Visual Effects of Allied Behind the Wheel: The Vehicles of Allied Locked and Loaded: The Weapons of Allied That Swingin' Sound: The Music of Allied Click Images to Enlarge
On April 26, 1986, the Chernobyl Nuclear Power Plant in Ukrainian SSR suffered a massive explosion that released radioactive material across Belarus, Russia and Ukraine and as far as Scandinavia and Western Europe. Dramatising the true story of the 1986 nuclear accident, one of the worst man-made catastrophes in history, Chernobyl shines a light on the brave men and women who fought an unprecedented war against an invisible enemy, and who suffered and sacrificed, saving millions of lives, often at the cost of their own.
Series 1: Starring Jared Harris (Chernobyl), Ciarán Hinds (Game of Thrones) and Tobias Menzies (The Crown), The Terror is inspired by the British Royal Navy's real life expedition into uncharted territory as the crew attempts to discover the fabled Northwest Passage. Faced with treacherous conditions, limited resources, dwindling hope and fear of the unknown, the crew is pushed to the brink of extinction. Frozen, isolated and stuck at the end of the earth, The Terror highlights all that can go wrong when a group of men, desperate to survive, struggle not only with the elements, but with each other. Series 2:In The Terror: Infamy the second instalment of producer (and Primetime Emmy® winner) Ridley Scott's horror-tinged anthology World War II-era Japanese-Americans on South California's Terminal Island are menaced by a bakemono or folkloric spectre. Suffering forced evictions and imprisonment after the attack on Pearl Harbour, the Terminal Islanders are hounded by prejudice and injustice, as well as bad omens and bizarre deaths. One of them, Chester Nakayama, decides to take on the malevolent entity, journeying to realms of evil in both the present and the distant past.
Milla Jovovich's video game action girl Alice has escaped the hive of the first flick and must now find a way through the hordes of zombies to escape Racoon City.
In 1942, an intelligence officer in North Africa encounters a female French Resistance fighter on a deadly mission behind enemy lines. When they reunite in London, their relationship is tested by the pressures of war. Bonus: Story of Allied From Stages to the Sahara: The Production Design of Allied 'Til Death Do Us Part: Max and Marianne Guys and Gals: The Ensemble Cast Click Images to Enlarge
Given that Resident Evil is a Paul Anderson movie based on a computer game which was itself highly derivative (especially of George A Romero and James Cameron films), it's probably unfair to complain that it hasn't got an original idea or moment in its entire running time. In the early 1980s, Italian schlock films such as Zombie Flesh Eaters and Zombie Creeping Flesh tried to cram in as many moments restaged from American originals as possible, strung together by silly characters wandering between monster attacks. This is a much-improved, edited, photographed and directed version of the same gambit. As amnesiac Milla Jovovich remembers amazing kung fu skills and anti-globalist Eric Mabius mutters about evil corporations, a gang of clichéd soldiers with nary a distinguishing feature between them (except for Michelle Rodriguez as a secondary tough chick) are trapped in an underground scientific compound at the mercy of a tyrannical computer--which manifests as a smug little-girl-o-gram--fending off flesh-eating zombies (though gore fans will be disappointed by the film's need to stay within the limits of the 15 certificate) and CGI mutants, not to mention the ever-popular zombie dogs. It's tolerably action-packed, but zips past its borrowings (Aliens, Cube, Deep Blue Sea) without adding anything that future schlock pictures will want to imitate. On the DVD: Resident Evil on disc has the expected trailers, both teaser and theatrical; a half-hour making-of; zombie make-up tests; featurettes on music (with Marilyn Manson), production design and costume. A lively commentary track features Anderson, Jovovich, Rodriguez and producer/zombie Jeremy Bolt--Jovovich upbraids Anderson for talking about different gradings of film stock over her nude scene and everyone else talks about how much she hurt them by punching them out during action sequences. Anderson mentions an alternate commentary track with visual effects designer Richard Yuricich, but it isn't included. --Kim Newman
The story of Bettie Page, one of the first sex icons in America and the target of a Senate investigation.
As with the great John Ford (Young Mr. Lincoln) before him, it would be out of character for Steven Spielberg to construct a conventional, cradle-to-grave portrait of a historical figure. In drawing from Doris Kearns Goodwin's Team of Rivals, the director instead depicts a career-defining moment in the career of Abraham Lincoln (an uncharacteristically restrained Daniel Day-Lewis). With the Civil War raging, and the death toll rising, the president focuses his energies on passage of the 13th Amendment. Even those sympathetic to the cause question his timing, but Lincoln doesn't see the two issues as separate, and the situation turns personal when his son, Robert (Joseph Gordon-Levitt), chooses to enlist rather than to study law. While still mourning the loss of one son, Mary (Sally Field) can't bear to lose another. Playwright Tony Kushner, who adapted the screenplay, takes a page from the procedural handbook in tracing Lincoln's steps to win over enough representatives to abolish slavery, while simultaneously bringing a larger-than-life leader down to a more manageable size. In his stooped-shoulder slouch and Columbo-like speech, Day-Lewis succeeds so admirably that the more outspoken characters, like congressman Thaddeus Stevens (Tommy Lee Jones) and lobbyist W.N. Bilbo (James Spader), threaten to steal the spotlight whenever they enter the scene, but the levity of their performances provides respite from the complicated strategising and carnage-strewn battlefields. If Lincoln doesn't thrill like the Kushner-penned Munich, there's never a dull moment--though it would take a second viewing to catch all the political nuances. --Kathleen C. Fennessy
The good news is, Dr. Watson does get married. The bad news is, Sherlock Holmes throws his bride off a moving train. Actually, there's even worse news than that--but all will be explained in Sherlock Holmes: A Game of Shadows, the sequel to Guy Ritchie's 2009 hit. Robert Downey Jr. and Jude Law return to their roles as Holmes and Watson, as the duo take on the world's greatest criminal mind, Professor Moriarty (Jared Harris), a man whose latest scheme has global implications. Sherlockians who prefer their consulting detective to remain in a traditional mode had best look the other way, for the sequel continues Ritchie's vision of Holmes as a hard-punching action hero hurtling through a barrage of special effects sequences. If you can go with that, A Game of Shadows actually improves on the first film: the story makes a little more sense (or possibly the whole thing moves so smoothly you don't notice the illogic), Harris is a delicious villain, and new cast members Noomi Rapace (from the Swedish Girl with the Dragon Tattoo series) and Stephen Fry (playing Sherlock's brother Mycroft, who calls his sibling "Sherlie") add appeal. It's all frivolous and superficial, but the film's playful attitude and breathless forward motion are skillfully managed--and the final note adds just the right punctuation. --Robert Horton
With Dead Man, his first period piece, JIM JARMUSCH (Down by Law) imagined the nineteenth-century American West as an existential wasteland, delivering a surreal reckoning with the ravages of industrialization, the country's legacy of violence and prejudice, and the natural cycle of life and death. Accountant William Blake (Edward Scissorhands's JOHNNY DEPP) has hardly arrived in the godforsaken outpost of Machine before he's caught in the middle of a fatal lovers' quarrel.Wounded and on the lam, Blake falls under the watch of the outcast Nobody (Powwow Highway's GARY FARMER), a Native American without a tribe, who guides his companion on a spiritual journey, teaching him to dispense poetic justice along the way. Featuring austerely beautiful black-and-white photography by ROBBY MÃLLER and a live-wire score by NEIL YOUNG, Dead Man is a profound and unique revision of the western genre.Special FeaturesNew 4K digital restoration, supervised and approved by director Jim Jarmusch, with 2.0 surround DTS-HD Master Audio soundtrackNew Q&A in which Jarmusch responds to questions sent in by fansRarely seen footage of Neil Young composing and performing the film's scoreNew interview with actor Gary FarmerNew readings of William Blake poems by members of the cast, including Mili Avital, Alfred Molina, and Iggy Pop, accompanied by Jarmusch's location-scouting photosNew selected-scene audio commentary by production designer Bob Ziembicki and sound mixer Drew KuninDeleted scenesTrailerColor photos from the film's productionPlus: Essays by film critic Amy Taubin and music journalist Ben Ratliff
A sweet-natured, small-town guy inherits a controlling stake in a media conglomerate and begins to do business his way.
Robert Downey Jr. and Jude Law return as Holmes and Watson in this acclaimed action-thriller. This time, the sleuths face off against their greatest foe, Professor Moriarty, as they travel across Europe bent on thwarting the master criminal's plans for world domination.
Packed with more than 750 dazzling visual effects, this US$70 million adventure does more (and less) than give the 1965-68 TV series a state-of-the-art face-lift. Aimed at an audience that wasn't born when the series originally aired, the sci-fi extravaganza doesn't even require familiarity, despite cameo appearances by several of the TV show's original cast members. Instead it's a high-tech hybrid of the original premise with enough sensory overload to qualify as a spectacular big-screen video game, supported by a time-travel premise that's adequately clever but hardly original. Lost in Space is certainly never boring, and visually it's an occasionally awesome demonstration of special effects technology. But in its attempt to be all things to all demographics, the movie's more of a marketing ploy than a satisfying adventure, thankfully dispensing with the TV show's cheesy camp but otherwise squandering a promising cast in favour of eye-candy and ephemeral storytelling. --Jeff Shannon
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