Louise is an 18 year old staying in a girls' boarding school. Unbeknownst to Veronica the headmistress Louise is having an affair with Matthew Veronica's husband and the resident art teacher. With half-term looming Louise manages to convince Veronica to let her stay on secretly planning to spend more time with her lover. However Veronica discovers the affair and plots her revenge. What follows is a series of grisly events that culminate in something truly terrifying.
Near Dark (1987): Near Dark is a vampire movie with a western backdrop. Caleb (Adrian Pasdar) is a farmboy living in the midwest of America. One Friday night he gets involved with Mae (Jenny Wright), one of a group of vampires who have been roaming America since the Civil War. Trapped by Mae's vampire family, Caleb is forcibly initiated into their horrific lifestyle as he tries desperately to save Mae and save himself. Dracula (2002): Dracula is an Italian-produce...
Lawnmower Man: Pierce Brosnan is computer scientist Dr. Lawrence Angelo - a man with a vision of the future. Jeff Fahey is Jobe Smith a simple gardener whose brain capacity is increased 400% by the powers of Virtual Reality. His possibilities are infinite. His potential is terryfying... Based on a short story by horror creator Stephen King and featuring extraordinary special effects never seen before in the UK. 'The Lawnmower Man' is the ultimate futuristic thriller as the frightening forces of the human imagination and computer science collide to create a monstrous reality. Robocop Dark Justice: Ten years after his resurrection RoboCop is up against the havoc creating Bone Machine. A sinister rebel group called The Trust secretly re-programs RoboCop to kill Delta City's security commander Cable. This results in a violent clash between RoboCop Cable and Bone Machine which ultimately leads to RoboCop's biggest challenge yet... Robocop Meltdown: The Trust (a sinister rebel group) schemes to take over Delta City. They transform the dead body of RoboCop's best friend Cable into a machine designed to destroy RoboCop. Will Cable remember he is the man inside the machine? Robocop Resurrection: Fugitives on the run RoboCop and former partner Cable are seperated during a pitched battle with Robohunters. They fall into the hands of two opposing mercenary groups who restore and re-programme them for the purpose of their own dark crusades. Robocop Crash And Burn: With Delta City on the verge of a dark age RoboCop and Cable are trapped inside the towers of Control Headquarters. To save the city the entrapped defenders must shut down the all poweful computer and in doing so the ultimate sacrifice must be made.
By any rational measure, Alan Parker's cinematic interpretation of Pink Floyd's The Wall is a glorious failure. Glorious because its imagery is hypnotically striking, frequently resonant and superbly photographed by the gifted cinematographer Peter Biziou. And a failure because the entire exercise is hopelessly dour, loyal to the bleak themes and psychological torment of Roger Waters' great musical opus, and yet utterly devoid of the humour that Waters certainly found in his own material. Any attempt to visualise The Wall would be fraught with artistic danger, and Parker succumbs to his own self-importance, creating a film that's as fascinating as it is flawed. The film is, for better and worse, the fruit of three artists in conflict--Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerising film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters's alter ego--an alienated, "comfortably numb" rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters's autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It's a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. --Jeff Shannon
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