The mythological past and bleak future converge on the sparse, grey streets of London in this cult classic of the punk era. Queen Elizabeth 1 and her occult aide Dr John Dee (brilliantly played by Jenny Runacre and Richard O'Brien, respectively) travel into the future, encountering the megalomania of big business as well as gangs of violent, marauding killers. Director Derek Jarman doesn't spare the shocks while electrifying punk rock numbers are delivered by Jayne County and Adam Ant Newly available as a Dual Format Edition for the very first time, the film is a 2K remaster from the original camera negatives, and comes bolstered by an extensive array of extras. Special Features: Presented in High Definition and Standard Definition A Message from the Temple (1981, 5 mins) Toyah Wilcox: Being Mad (2014, 8 mins): The singer and actress looks back on her role in Jubilee Jordan remembers Jubilee (2018): Punk icon Jordan looks back on her friendship with Derek Jarman and the making if Jubilee Lee Drysdale remembers Jubilee (2018): Derek Jarman's friend and, later collaborator Lee Drysdale recalls his unconventional involvement in the making of Jubilee Jubilee image gallery Fully illustrated booklet with writing on the film by Will Fowler, an original review and full film credits
The trailblazing independent auteur JOHN CASSAVETES (Opening Night) pushes his raw, uncompromising emotional realism to its limit in this unflinching portrait of masculinity in crisis. Cassavetes joins BEN GAZZARA (Anatomy of a Murder) and PETER FALK (Mikey and Nicky)both of whom would become key collaborators of the director'splaying a trio of middle-aged Long Island family men who, following the sudden death of their best friend, channel their grief into an epic, multiday bender that takes them from Manhattan to London in a desperate, debauched quest to feel alive. By turns painfully funny and woundingly perceptive, this self-described comedy about life, death, and freedom stands as perhaps the most fearless, harrowingly honest deconstruction of American manhood ever committed to film. Special Features: New 4K digital restoration, with uncompressed monaural soundtrack Audio commentary from 2009 featuring critic Marshall Fine New interviews with producer Al Ruban and actor Jenny Runacre New video essay featuring audio recordings of John Cassavetes in his own words exploring the actor director's spirited approach to acting The Story of HusbandsA Tribute to John Cassavetes (2009), a half-hour program featuring Ruban, actor Ben Gazzara, and cinematographer Victor J. Kemper Episode of The Dick Cavett Show from 1970 featuring Cassavetes, Gazzara, and actor Peter Falk Trailer PLUS: An essay by filmmaker Andrew Bujalski
A young boy stumbles onto a witch convention and must stop them, even after he has been turned into a mouse.
Jon Finch heads an impressive cast as the flamboyant anti-hero of this dystopian, darkly humorous sci-fi thriller from cult director Robert Fuest - best-known for the stylishly cult Dr Phibes horror films starring Vincent Price. Based on Michael Moorcock's acclaimed 1968 novel, The Final Programme is presented here in a brand-new transfer from the original film elements, in its as-exhibited theatrical aspect ratio. In a far-off future, mankind is in a state of decay. But a group of sc...
Italian director Pier Paolo Pasolini's film of The Canterbury Tales was one of a trilogy from the early 1970s that, like its companions The Decameron and the Arabian Nights, was an international box-office hit playing for long runs in mainstream cinemas. All of them adapt a masterpiece of literature where man becomes the moral catalyst for his own destiny. Chaucer's ribald sense of humour was a natural outlet for Pasolini's own desire to throw caution to the wind on screen, causing controversy at the time by displaying all facets of the male and female body unadorned. (Although it all looks pretty tame now, the Italian authorities were a threatening presence to Pasolini at the time.) Produced by Alberto Grimaldi with a large budget, the location scenes were filmed in many historic sites in England, notably Wells Cathedral, its crypt, and the surrounding flatlands leading toward Glastonbury, captured in early spring by Tonino Delli Colli's cinematography. The cast with Italian and English actors dubbed into Italian with English subtitles is a mixed blessing. Hugh Griffith as Sir January is one Anglo-Saxon recognisable from his role as the lecherous squire in Tom Jones, and overacts like the rest of the cast. Pasolini himself appears briefly as Chaucer in a non-speaking role that one regrets he didn't enlarge for himself in this sprawling tableaux of pilgrim's tales (Ken Russell's excesses from the same period come to mind). The musical score, an adaptation by Ennio Morricone of some traditional indigenous melodies, prefigures the early music revival by a few years and provides a stimulating soundtrack. --Adrian Edwards
Derek Jarman's Jubilee combines a safety-pin and barbed-wire vision of 1977 London in ruins (all burning prams and castrated policemen), a meditation on English mysticism guided by a time-travelling Queen Elizabeth I (the immensely regal Jenny Runacre) and a wild 'n' crazy account of the rampages of a gang of personality punk psychos, to become the closest a British film could come to the John Waters of Pink Flamingos. But there are surprisingly lyrical stretches (the only songs sung all the way through are "Jerusalem" and "My Love is Like a Red Red Rose") and, though future pop stars Toyah Wilcox and Adam Ant are embarrassingly amateurish as rebel street angels, some of the one-note maniacal performances--especially Lex Luther look-alike Orlando as mad media tycoon Borgia Ginz--are relishable. Among the people you've forgotten are in it are Ian Charleson of Chariots of Fire, celebrity shop assistant Jordan (as narrator Amyl Nitrate), Richard O'Brien and Little Nell of The Rocky Horror Picture Show, the Lindsay Kemp Dance Troupe and Adolf Hitler of World War II. Arguably the only Derek Jarman movie you might consider watching for pleasure, this is still not exactly the 1970s nostalgia fodder you might expect: even as the haircuts and music have receded into cultural history, the movie's acid-look vision of the worst of England remains horribly sound. The soundtrack features Adam and the Ants ("Deutscher Girls"), Wayne County and the Electric Chairs ("Paranoia Paradise"), Chelsea ("Right to Work"), Suzi Pinns (a thrash punk "Rule Britannia" best appreciated by those with the aural range of a fox terrier), Siouxie and the Banshees ("Love in a Void"), Amilcar ("Wargasm in Pornotopia"), the Slits and Brian Eno ("Slow Water", "Dover Beach"). In the 21st Century, the creative team are either dead or doing pantomime--which is so appropriate that irony doesn't even come into it. --Kim Newman
Antonioni's suspenseful and haunting portrait of David Locke (Jack Nicholson) a drained journalist whose deliverance is an identity exchange with a dead man. He embarks on a treacherous journey through Africa Spain Germany England Spain. Possibly one of the greatest road movies of all-time.
Written and directed by Matthew Chapman (Strangers Kiss), and starring the great Helen Mirren (Age of Consent), Hussy is an offbeat blend of adult thriller and almost romantic comedy. Set in the seedier side of London, the film focuses on a prostitute, played by Mirren, who begins an affair with a man, played by John Shea (Missing), harbouring a dark secret. Part of producer Don Boyd's efforts to reinvigorate British cinema in the late seventies and early eighties, with films such as The Great Rock 'n' Roll Swindle and the cinema version of Scum, Hussy is an unsung and underseen gem deserving of a wider audience.
A stylish remake of the Hitchcock original in which two young people are searching for an old lady who has mysteriously disappeared on the train journey back to London from Switzerland...
Sometimes dismissed as a pale descendant of a great original, The New Avengers deserves a second look and is perhaps best considered as a largely successful attempt to re-imagine its predecessor for 1970s audiences. Patrick McNee was never the most convincing of action heroes, and the decision to make his John Steed the supervisor and mentor of two younger agents was a sensible one--Steed's virtues are style, wisdom and fortitude rather than physical prowess. Gareth Hunt's Gambit has an unattractively smug side, but has also a louche charm. Joanna Lumley's Purdey is one of the most attractive heroines of genre television, astonishingly leggy and beautiful. Those who only know her later incarnation as Patsy in Absolutely Fabulous will understand now why such a fuss is made over her. The script team overlaps heavily with that of the original series; the new show has the same quirkiness, only occasionally varying it with a rather darker leCarrésque complexity or sudden outbreaks of Hammer Horror. If it lacks some of the sheer style of the original, that is a reflection of its period--the 1970s were less visually imaginative than the 60s. Tightly plotted, imaginatively cast with interesting guest stars, it is only with The Avengers that The New Avengers suffers by comparison. --Roz Kaveney
'Taggart' is the longest running police drama on TV. Thanks to its explosive storylines and tough-talking Glasgow detective Jim Taggart (Mark McManus) it has become a national institution with these next six feature length editions averaging over eleven million viewers. Set Comprises: 1. Cold Blood 2. Dead Giveaway 3. Root Of Evil 4. Double Jeopardy 5. Love Knot 6. Hostile Witness
The second part of Pasolini's trilogy is based on the 14th century stories of Geoffrey Chaucer. Plunging with gusto into some of the blackest and bawdiest of the tales Pasolini celebrates almost every conceivable form of sexual act with a rich earthy humour. The film's visual magic is complimented by this new high-definition restoration. Tom Baker is included in a largely British cast with the director himself taking on the role of Chaucer.
Starring Oscar Winner Dame Helen Mirren (The Queen Calendar Girls) Hussy is a dramatic love story centred around Beaty (Mirren) - a self destructive drug dabbling club hostess who spends her nights moving from one illicit encounter to the next. When a handsome young American Emory starts working the lights in her London club however she finds herself falling for his mysterious charms. Emory finds he must accept both Beaty's decadent lifestyle and her murderous ex-lover when he returns from prison. Yet even Emory has a history that soon leads him toward an involvement with the criminal underworld and a future of violence drug smuggling and ultimately death.
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