The year is 2020 and the world faces the ultimate threat. Not nuclear war or a terrorist attack but the eruption of a gigantic 'supervolcano' simmering beneath Yellowstone Park. The last eruption of this kind plunged the world into darkness for six years triggered the last Ice Age and reduced the human population to just 2 000 people. Scientists know that the molten lava bulging against the Earth's crust in Yellowstone will explode; it's just a question of when.This power
Ghost Whisperer plunges into new territory by literally rocking the foundations of the series with a new mythology - love transcends death.
When an inept mob hitman is joined on a kidnap job by a 'lesbian assassin,' the last thing they or their bosses expect happens: they fall in love.
Fed up with answering to higher-ups, Nick, Dale and Kurt decide to become their own bosses by launching their own business in "Horrible Bosses 2." But a slick investor soon pulls the rug out from under them...
A corporate troubleshooter (Kate Mara) is sent to a remote, top-secret location, where she is to investigate and evaluate a terrifying accident. She learns the event was triggered by a seemingly innocent human, who presents a mystery of both infinite promise and incalculable danger.
You can take this 1992 thriller one of two ways: it's either a highly suspenseful movie about an unfortunate young woman's psychological breakdown, or it's a glossy slasher movie starring two of Hollywood's best young actresses. Or maybe it's both at the same time-or perhaps it's the clever and well-acted thriller for its first hour before resorting to the routine shocks of a cheap horror flick. However you look at it, there's no denying that this is a dynamite showcase for Jennifer Jason Leigh as the flatmate from hell who becomes the bane of Bridget Fonda's existence. First she picks up Fonda's mannerisms, then starts to borrow her wardrobe, cuts her hair to resemble Fonda's, and even "borrows" her roommate's boyfriend for a deceitful night of lovemaking. By that point Fonda's totally freaking out (wouldn't you?), and, well, that's when the whole thing gets a little too silly. Still, this is a nifty little shocker, and director Barbet Schroeder brings more intelligence and style to the material than it really deserves. Add that to the fine performances by the battling roommates and you've got a movie that will make you think twice before inviting total strangers to live with you. --Jeff Shannon, Amazon.com
A young man must face his demons - literally - in this chilling horror.
Disney's heartwarming comedy will have your entire family laughing out loud. Based on the best-selling book it follows the exploits of Alexander as he experiences the most terrible and horrible day of his young life and wonders if bad things only happen to him. But he discovers he's not alone when his dad (Steve Carell) mum (Jennifer Garner) and family live through their own terrible - and hilarious - day. It will tickle everyone’s funny bone and warm their hearts as they discover how even on rotten days families can grow closer.
Adapted from the novel about the ever widening gap between the genders and the misunderstandings that often arise between couples.
Begin with a Fem-Libber an American heiress a not-so-quick school chum and an incorrigible flirt. Add an eccentric romance novelist and a parade of gentlemen callers. Toss in a dash of lunacy and you get the Girls On Top! Meet Amanda Ripley (Dawn French) Shelley DuPont (Ruby Wax) Candice Valentine (Tracey Ullman) and Jennifer Marsh (Jennifer Saunders) the unlikely roommates who share an apartment under the watchful eye of landlord Lady Carlton (Joan Greenwood). Whether it is a mysterious death a singing tadpole or nuclear war these girls find trouble at every turn. This release features the complete first and second series.
In lesser hands than director David O. Russell, Silver Linings Playbook could have been a typically cringe-inducing throwaway Hollywood rom-com. As it is, this unusual and deeply affecting story of crazy love is a bold observation about the joys and tragedy of life lived by deeply flawed characters facing triumph and adversity against a backdrop of painfully familiar family dysfunction. It's also a tremendous achievement in formal structure, with a flair for storytelling that's as moving as it is delightful. Bradley Cooper plays Pat, an until-recently undiagnosed bipolar person who's just home from a lengthy stay in a mental institution and doing his darnedest to get his head and his life back on track. His concerned parents, vividly embodied by Robert De Niro and Jacki Weaver, have plenty of troubles of their own when they warily take him in and tiptoe around the eggshells of a psyche that still veers wildly from seeming self-control to scary bouts of mania. Pat has a plan to win back the unfaithful wife whose restraining order is still in force because of the violent episode that sent him away after he nearly killed her lover. Interjected into this wobbly family scenario is Tiffany, a friend of a friend who is embroiled in her own turmoil of mental instability following the recent death of her husband. Jennifer Lawrence is a charming revelation as Tiffany, flexing sensitive acting muscles that are as toned as her lithe form. She throws herself into the role of a depressed, promiscuous young woman who needs Pat in her life about as much as she needs another personal tornado to rip her apart. But the movie magically reveals that these two disturbed souls have a destiny that's never really in doubt; although the whirlwind turns the movie takes to get them there are often breathtaking. Russell liberally adapted the movie from Matthew Quick's 2008 novel, and he deftly imbues the story with a vibrant sense of place (suburban, blue-collar Philadelphia) and each character, no matter how tangential to Pat and Tiffany's journey, with quirks and nuances that brilliantly reveal their essence. The subject of mental illness has rarely been portrayed with such honesty and candid respect. Constantly keeping us off guard, Silver Linings Playbook soars from darkness to a kind of screwball comedy that is as tender and touching as it is unpredictable. There are several tour-de-force moments that Russell constructs with the surest hand of direction, dialogue, and the talents of his cast. A key scene unfolds in a small living room where eight people are crammed together, each adding important pieces to the whole, and which thrums with a masterfully rhythmic pace. Another sequence follows the buildup to one of Pat's manic outbursts with a dizzying and increasingly stressful manifestation of the madness careening around in his head. It seems hard to believe that a love story with real humour, real pain, and genuine resonance that gets from point A to point B--it begins with a lone figure mumbling to himself and ends with a jubilantly staged ballroom dance--can succeed with so few missteps. But Silver Linings Playbook turns it all into an absorbing reality wherein life stumbles heartwarmingly toward what real love is all about. --Ted Fry
In one of the most unlikely cinematic pairings of all time, David Nelson (who rose to fame as a child star playing alongside his real-life family in the wholesome TV show The Adventures of Ozzie and Harriet) directs Playboy Playmate and adult star Susan Kiger in this bodycount-heavy, long overlooked slice of Southern fried hack-and-slash - 1982's Death Screams! Late one night, a young couple are brutally murdered at a make-out spot by an unseen assailant, their bodies tossed into the nearby river. As the lifeless lovers drift slowly downstream, the residents of the town excitedly prepare themselves for their annual carnival, unaware that a machete-wielding maniac with a twisted grudge is lurking in their midst. When a group of teen revellers plan a late-night after party down in the local cemetery, they unwittingly set the stage for a bloodbath. Death Screams, which was released on US VHS as House of Death (and on UK DVD with the reels in the wrong order!) oozes early '80s regional slasher charm from its every pore, boasting an everything-plus-the-kitchen-sink final reel featuring slashed throats, bisected bodies and exploding heads. Lovingly restored from the only-known existing 35mm print, this little-seen slasher classic is ready to carve its way into the bleeding hearts of horror fans everywhere! Product Features 2K restoration from an archival 35mm print High Definition Blu-ray (1080p) presentation Original uncompressed mono audio Optional English subtitles for the deaf and hard of hearing Audio commentary with producer Charles Ison and special effects artist Worth Keeter moderated by filmmaker Phil Smoot Audio commentary with The Hysteria Continues All the Fun of the Scare: The Making of Death Screams - making-of documentary featuring interviews with producer Charles Ison, special effects artist Worth Keeter, writer Paul Elliott, actors Hanns Manship and Curt Rector, actor/producer's assistant/assistant supervising editor Sharon Alley and actor/talent wrangler Robert Billy Bob Melton TV and Radio Spots Image Galleries House of Death Alternate VHS Opening Titles Two versions of the screenplay under the original title of Night Screams [BD-ROM content] Reversible sleeve featuring original and newly-commissioned artwork by Sadist Art Designs
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.
The hit movie that became a cultural sensation, Flashdance delivers an electrifying mix of music, drama and dance that dazzles the senses as it touches the heart; now remastered from a 4K film transfer supervised by director Adrian Lyne. Jennifer Beals stars as Alex, a fiercely determined 18-year-old with one all-consuming dream: to study at the Pittsburgh Conservatory of Dance. Working during the day as a welder and at night as an exotic dancer. Alex bravely pursues her dream, undertaking an unforgettable journey that reveals the power of her convictions. Featuring the Oscar®winning* song Flashdance What a Feeling. Product Features New Feature FILMMAKER FOCUS: Director Adrian Lyne discusses Flashdance Original Special Features The Look of Flashdance Releasing the Flashdance Phenomenon Theatrical Trailer
EXCLUSIVE TO THIS 30TH ANNIVERSARY EDITION Patrick Swayze Uncut: Never before seen interview with Patrick Swayze 4 Kellerman's postcards Foldout Dirty Dancing Poster Kellerman's resort brochure and map Patrick Swayze In His Own Words featurette Happy 30th Dirty Dancing featurette Eleanor Bergstein Thoughts On A Lifetime Of Dirty Dancing ALSO INCLUDES Commentary with Writer/ Co- Producer Eleanor Bergstein Commentary with Kenny Ortega, Miranda Garrison, Jeff Jur, Hilary Rosenfeld and David Chapman Music Videos for Hungry Eyes, She's Like The Wind and (I've Had) The Time Of My Life Original Screen Tests Outtakes Music Videos Cast & Crew Interviews Deleted Scenes Alternate Scenes This timeless, Oscar®* winning classic is a phenomenally popular coming-of-age tale, beloved by generations. Teenager Baby (Jennifer Grey), goes with her family on vacation to Kellerman's holiday resort in the Catskill Mountains. Things are pretty tame until she meets Johnny (Patrick Swayze), a dance teacher at the resort who mesmerises Baby with his dance moves, his passion and his misunderstood bad boy' image. During the summer of 1963, Johnny teaches Baby how to dance. And, more importantly, how to love.
JOY is the wild story of a family across four generations centered on the girl who becomes the woman who founds a business dynasty and becomes a matriarch in her own right. Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this intense emotional and human comedy about becoming a true boss of family and enterprise facing a world of unforgiving commerce. Allies become adversaries and adversaries become allies, both inside and outside the family, as Joy's inner life and fierce imagination carry her through the storm she faces. Jennifer Lawrence stars, with Robert De Niro, Bradley Cooper, Edgar Ramirez, Isabella Rossellini, Diane Ladd, Virginia Madsen, Elisabeth Röhm and Dascha Polanco. Like David O. Russell's previous films, Joy defies genre to tell a story of family, loyalty, and love.
The spirit of Motown runs through the long-awaited film adaption of the Broadway musical Dreamgirls, which centres around a young female singing trio who burst upon the music scene in the '60s, complete with bouffant hairdos, glitzy gowns, and a soul sound new to the white-bread American music charts. Sound familiar? You aren't the first one to draw comparisons to the meteoric rise of the Supremes, and despite any protests to the contrary, this is most definitely a thinly veiled reinterpretation of that success story. The Dreamettes--statuesque Deena (Beyonce Knowles), daffy Lorell (Anika Noni Rose) and brassy Effie (Jennifer Hudson)--are a girl group making the talent-show rounds when they're discovered by car salesman and aspiring music manager Curtis Taylor Jr. (Jamie Foxx). Sensing greatness (as well as a new marketing opportunity) Curtis signs the Dreamettes as backup singers for R&B star James "Thunder" Early (Eddie Murphy). But when Early's mercurial ways and singing style don't mesh with primarily white audiences, Curtis moves the newly-renamed Dreams to centre stage--with Deena as lead singer in place of Effie. And that's not the only arena in which Effie is replaced, as Curtis abandons their love affair for a relationship with star-in-the-making Deena. Besides the Supremes comparison, one can't talk about Dreamgirls now without revisiting its notorious Oscar snub; though it received eight nominations, the most for any film from 2006, it was shut out of the Best Picture and Director races entirely. Was the oversight justified? While Dreamgirls is certainly a handsomely mounted, lovingly executed and often vibrant film adaptation, it inspires more respect than passion, only getting under your skin during the musical numbers, which become more sporadic as the film goes on. Writer-director Bill Condon is definitely focussed on recreating the Motown milieu (down to uncanny photographs of Knowles in full Diana Ross mode), he often forgets to flesh out his characters, who even on the Broadway stage were underwritten and relied on powerhouse performances to sell them to audiences. (Stage fans will also note that numerous songs are either truncated or dropped entirely from the film.) Condon has assembled a game cast, as Knowles does a canny riff on the essence of Diana Ross' glamour (as opposed to an all-out impersonation) and Rose makes a peripheral character surprisingly vibrant; only Foxx, who never gets to pour on the charisma, is miscast. Still, there are two things even the most cranky viewers will warm to in Dreamgirls: the performances of veteran Eddie Murphy and newcomer Jennifer Hudson. Murphy is all sly charm and dazzling energy as the devilish Early, who's part James Brown, part Little Richard, and all showman. And Hudson, an American Idol contestant who didn't even make the top three, makes an impressive debut as the larger-than-life Effie, whose voice matches her passions and stubbornness. Though she sometimes may seem too young for the role, Hudson nails the movie's signature song, "And I Am Telling You I'm Not Going," with a breathtaking power that must be seen and heard to believe. And for those five minutes, if not more, you will be in Dreamgirls' thrall. --Mark Englehart
"Igor" is a hilarious story of a talented hunchback who's determined to prove his worth at the annual Evil Science Fair.
Anna Biller directs this comedy horror starring Samantha Robinson, Jeffrey Vincent Parise and Laura Waddell which pays homage to the Technicolor thrillers of the 1960s and 70s. A young and beautiful witch named Elaine (Robinson) uses her magic to devise spells and craft concoctions which will grant her what she desires: a man who loves her. Inconveniently however, her creations work too well and every man she seduces ends up dead. She finally finds the perfect man for her, but her willful desire to feel loved may send her over the edge and into a heady brew of passion, madness and death.
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