Deep Space Nine's sixth series began ambitiously with a six-part story arc devoted to the Dominion War. This was a brave move in many ways, but a sensible one too. Whereas other SF shows wouldn't commit to showing the impact of war (Babylon 5), here there were numerous visible sacrifices. Characters were frequently kidnapped and held prisoner, allowing screen time for other members of the ever-growing cast (at its peak there were as many as 18 individuals with speaking roles per episode). This year also introduced the idea of Starfleet Intelligence and its sinister Section 31; alliances were built only to crumble almost immediately; Sisko led a suicide mission and at long last his destiny as the Emissary took a serious turn. Amid all this sturm und drang the writers felt it necessary to inject some levity. In fact, there was so much comedic sidetracking this year it actually seemed sometimes as if they were afraid of the series dark tone. Witness: Quark undergoing a temporary sex change, leading a Magnificent Seven-style band of Ferengi (with a cameo from Iggy Pop), Morn's non-speaking character being sorely missed, the blend of Troi and Guinan into 60's crooner Vic Fontaine and, in one fan favourite episode ("Far Beyond the Stars"), Sisko having visions of himself and the crew as 1950s staff writers on pulp magazine Incredible Tales. There were also cute reconciliations amongst Worf's extended family (leading to Trek's first cast wedding), and even the revelation of Bashir's genetically enhanced origins quickly became a subject for easy jokes. Any of these events would have been satisfactorily cute if the war had ended and the show had moved on. But confusing the viewer, every so often the battle would be rejoined mid-episode. The clinching proof that no grand design was really at work was in the sudden and brutal dispatch of Dax. Actress Terry Farrell gave sufficient forewarning of having had enough of the show, but specifically asked not to be killed off. Despite all the jarring humour scattered about after the strong opening, the show seemed unable to avoid reverting to shock tactics for its finale. All of which hardly made the promised final year seem a particularly enticing prospect. --Paul Tonks
The complete first series of this hugely successful television series starring John Thaw as the legendary Jack Regan and Dennis Waterman as sidekick George Carter. This is first of four box sets featuring all 13 episodes from series 1. Most of these episodes are new to DVD and 2 episodes have never been previously released on any format. Episodes comprise: 1. Ringer 2. Jackpot 3. Thin Ice 4. Queen's Pawn 5. Jigsaw 6. Night Out 7. The Placer 8. Cover Story 9. Golden Boy 10. St
Helene Junot is rich beautiful powerful and envied for her success but is surrounded by enemies who seek to destroy her. As a young girl Helene witnessed the murder of her mother was seperated from her brother and sister and was herself both beaten and raped by the Nazi's in Paris. Helene now a fully grown woman meets a photographer who puts her on the road to fame as the hottest model in Paris until she turns her hand to design and becomes a director of a top fashion house. Helene attracts many men both good and bad especially in the case of Count De Ville but she meets an American Officer on his way to Vietnam and falls madly in love but happiness eludes her as she is forced to borrow money to pay a famed Nazi hunter to track down her long lost brother who has spent 15 years in a mental institution. Helene's empire flourishes but the ruthlessness and calculative ambition in business and her quest for revenge costs her dear as she has to deal with her many enemies as her life enters a new dimension when she has to fight for her own survival and that of her empire.
A group of adolescents are enjoying a wild summer at 'Fat Camp' until a neurotic fitness fanatic buys the camp and imposes an absurd diet and exercise regime! Now the kids must gain control before their summer wastes away...
An easygoing British Corporal (John Mills) in France finds himself responsible for the lives of his men when their officer is killed. He has to get them back to Britain somehow. Meanwhile British civilians are being dragged into the war with Operation Dynamo the scheme to get the French and British forces back from the Dunkirk beaches. Some come forward to help others are less willing...
Over the last century thousands of people have gone missing. Suddenly and inexplicably 4400 missing people are returned all at once exactly as they were on the day they vanished. Unclear what this world-altering event means the government investigates the 4400 to piece together where they've been and why they've been returned. It quickly becomes apparent that their presence will change the human race in ways no one could have foreseen.
This minor 1948 film by Alfred Hitchcock beats a familiar Hitchcockian drum: an attorney (Gregory Peck), in love with the client (Alida Valli) he is defending on a murder charge, implicates himself in her guilt by trying to put the blame on another man. The no-one-is-innocent theme may be consistent with Hitchcock's best films and world view, but this is one of the movies that got away from his crucial passion for the plastic side of creative directing. Stuck in a courtroom for much of the story, the film is fit to burst with possibility but is pinned down like a freshly caught butterfly in someone's airless collection. --Tom Keogh
Gillies MacKinnon's highly praised adaptation of Pat Barker's novel is a moving and powerful study of war and its devastating effects. Set in a military hospital during World War I the film tells of a real life encounter between army psychologist Dr William Rivers and the poet Siegfried Sassoon who has been institutionalised in an attempt to undermine his public disapproval of the war. It also concerns young poet Wilfred Owen who whith support from Sassoon begins to write his great war poems. Rivers whose duty it is to return shell-shocked officers to the trenches is tormented by the morality of what is being done in the name of medicine especially the treatment of working-class officer Billy Prior who has been struck dumb by the carnage he has witnessed.
In Space No One Can Eat Ice Cream... Clowns can be terrifying at the best of times - especially when they're Killer Klowns from Outer Space! When Mike and his girlfriend Debbie turn up at the local police station warning that a gang of homicidal alien clowns have arrived in the town of Crescent Grove the cops are naturally sceptical. Talk of popcorn-firing guns and a spaceship shaped like a circus tent out in the woods hardly helps to convince them. Before long however reports start coming in from anxious locals reporting similar run-ins with the colourfully-dressed large shoe-wearing assailants. There can no longer be any doubt - the Killer Klowns from Outer Space are here and they're out to turn the population into candy floss! The sole directorial effort from the Chiodo brothers - the special effects team behind such hits as Critters and Team America: World Police - Killer Klowns from Outer Space is the wacky 1988 horror comedy classic against which all other knowing B-movie efforts should be measured. So in the words of the film's opening theme song hop aboard the 'nightmare merry-go-round' and brace yourself for a cinematic experience unparalleled in this galaxy! Special Features: High definition digital transfer Audio Commentary with the Chiodo Brothers The Making of Killer Klowns - a 20-minute featurette comprising interviews and behind-the-scenes footage Komposing Klowns - interview with composer John Massari Visual Effects with Gene Warren Jr. Kreating Klowns - with Charles Chiodo and creature fabricator Dwight Roberts Chiodo Brothers' Earliest Films - a look back on the first Chiodo Brothers' productions 2 Deleted Scenes with Director's Commentary Killer Bloopers Klown Auditions Theatrical Trailer Reversible sleeve featuring original and newly commissioned artwork to be revealed! [Amaray only] Limited Edition SteelBook featuring original artwork [SteelBook only] Collector's booklet featuring new writing on the film
The seventh and final series of Deep Space Nine came down to loose ends, tying some existing ones together and allowing others to unravel. Symptomatic of the unwillingness to let DS9 go was the immediate arrival of a replacement Dax, though poor Nichole deBoer as Ezri Dax had to have known she'd already missed the boat. Her appearance encouraged last-minute romances to blossom, with Bashir finally getting some action, Odo finally getting together with Kira and Sisko finally proposing to Kassidy. Another contributing cute factor were numerous trips to the Holosuite wherein the all-knowing Vic Fontaine dished out philosophical advice. That was when the crew weren't in there to play baseball against the Vulcans or when Nog wasn't commiserating about the loss of a leg. Oh yes, and don't forget the war! There was an early announcement that the show would attempt a 10-part resolution to the Dominion War, but viewers could be forgiven for forgetting all about it with so much sentimental distraction. When the horrors of war did resurface, they at least injected a few surprises into the mix. Odo and his ambiguously "evil" Founders were hit with a melting disease, prompting a backstabbing race for the power of developing and owning a cure. The original baddie Cardassians finally settled on the Federation's side. Contrary to these interesting twists, however, were the unexpected turns taken by matters relating to Sisko's spiritual destiny. Suddenly the mystery of the wormhole and an entire religious belief system was reduced to the problem of translating correctly the words of a sacred book. The struggle to join with some evil aliens significantly diluted the attempt at resolving what had begun seven years before in the show's pilot episode. Ultimately, Sisko's destiny, as with all those who'd followed him to the open-ended climax, was to be decided elsewhere. In a move that was either bold and daring--or possibly born of desperation for not having thought things through properly--the show's storylines were to be continued in a series of spin-off books. --Paul Tonks
Mobile is a new conspiracy thriller which unfolds against the backdrop of the Iraq war and the corrupt world of the multi-billion pound mobile phone industry flashing back and forth to retrace events from the perspectives of three different people: the engineer the soldier and the boss. Each episode features the same story told from a different viewpoint and only in the final scenes of the third episode is the connection between all three stories made for the first time in a shocking conclusion! A young man is shot at point blank range for using is mobile phone while driving whilst a Corsoncom mobile phone mast in Wigan is blown-up. Then when a gunman shoots a passenger using a phone and the driver of an inter-city train police make a connection between the three events and name Edie (Neil Fitzmaurice) as their number one suspect
Eugenio Mira directs this thriller starring Elijah Wood, John Cusack and Kerry Bishé. Tom Selznick (Wood) is the most talented concert pianist of his generation. However, lately Tom's career has stalled due to crippling bouts of stage fright, which interfere with his ability to perform at the highest level. After seeking help for his issues, Tom returns to the stage for a sold out comeback performance, supported by his wife Emma (Bishé). All is going well until Tom turns the page on his sheet music and finds a threatening message scrawled there. Soon, via an earpiece, Tom is put in touch with his tormenter, Clem (Cusack). Clem assures him that he has a high-powered rifle trained on him and will open fire if Tom hits one wrong note. How will the virtuoso cope under a very different kind of performance pressure?
In his time between adventures Black Mask has become very well known but his identity has always remained a secret. He must now work to prevent a group that intends to set off a DNA bomb that would turn the metro area's population into monstrous mutated beasts!
A collection of films from famed actor and independent director John Cassavetes comprising: Shadows (1959): A depiction of the struggle of three black siblings to survive the mean streets of Manhattan 'Shadows' was Cassavetes' jazz-scored improvisational film exploring interracial friendships and relationships in Beat-Era (1950s) New York City made from a script entirely improvised by the talented cast heralding a vital new era in independent filmmaking. Faces (1968):
This sequel to 'Children of the Corn' finds the murderous youths of Gatlin being taken in by the folks from the neighbouring town of Hemingford. Before long, however, the Gatlin children receive another directive from He Who Walks Behind the Rows to kill all the adults in an act of sacrifice. And so the violence begins again.
Deep Space Nine's fifth series was a turning point from which there was no going back. Character and information overload took over, and the complicated twists and turns in the build up to war either hooked viewers securely, or sent them away with a headache. The Klingon faction instigated by Worf's arrival was occasionally played for laughs, but mostly their hard-headed personalities made all efforts at diplomacy moot. In the opening episode a chilling possibility is proposed as to why might be: have the Changelings infiltrated already and replaced key personnel? Some fans saw this as a flawed X-Files-style development. Nevertheless it sowed a seed of insidious suspicion from here on, affecting all the principal casts' relationship with one another, even allowing Odo and Quark an opportunity to confess a degree of friendship. Expanding on the new theme of duplication, the crew also made numerous trips to their Mirror Universe counterparts. As well as new uniforms and the milestone 100th episode, Nana Visitor and Alexander Siddig comically got to disguise the arrival of their child during filming. More laughs came from the fan favourite "Trials and Tribble-ations" with CG allowing Sisko and crew to interact with Kirk and a cameo from Leonard Nimoy. Avery Brooks began taking a backseat as of this year, partly a result of the now-overcrowded cast. Although Sisko's destiny would be foreshadowed by his first vision and the introduction of the Pah-wraiths, the Captain was in an increasingly sulky mood. Brooks only directed one episode, allowing room for regulars LeVar Burton and Rene Auberjonois to do more behind the camera. Joining them were Alexander Siddig, Michael Dorn and even Andrew Robinson. Available space started to seem hardly deep enough. --Paul Tonks
The series focuses on Detective Inspector Jack Regan and Detective Sergeant George Carter of the Flying Squad Scotland Yard as they do their best to thwart criminal activity in and around London. At the time the show was considered the most realistic portrayal yet of the Police in a television series helped by the fact that a real life ex-detective in the Flying Squad was an advisor to the show. Episodes include: 1. Messenger Of The Gods 2. Hard Men 3. Drag Act 4. Trust R
Alex Lee (Heche) is a loan officer at an international bank who is forced into moonlighting as a hooker when her own debts begin to mount. One night Alex encounters a new client financial racketeer Bruno (Walken) who becomes obsessed with Alex's dominating sexual performance. Fearing she may be working for the FBI Bruno sends his bodygaurd Tony (Bauer) to check her out. Meanwhile Bruno's estranged wife Virginia (Chen) meets Alex at her bank and the two women become instant
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