The second series of investigations featuring the gruff detective. Episodes comprise: 'A Minority Of One' 'Widows And Orphans' 'Nothing To Hide' and 'Stranger In The House'.
A bee sets out to sue the human race after discovering they've been stealing precious honey for years.
Director Todd Solondz presents this characteristically bleak and darkly comic drama in two distinct parts. The first story ""Fiction"" stars Selma Blair as Vi a confused university student who engages in an impulsive tryst with her Pulitzer Prize-winning professor (Robert Wisdom) after arguing with her cerebral palsy-afflicted boyfriend (Leo Fitzpatrick). The second (and longer) tale ""Non-Fiction "" stars Paul Giamatti as Toby a down-on-his-luck documentary filmmaker who turns his ca
Three archaeologists searching for the 4 000-year-old tomb of Princess Ananka among the ruins in Egypt are warned of grave consequences if they violate her tomb. Madness strikes one and as the others return to England with a mummy a series of murders take place as the mummy seeks a deadly revengre on those who desecrated the secret tomb...
David Jason is the gritty and dogged Detective Inspector Jack Frost a man who has little time for paperwork or the orthodox approach. This release features all the episodes from Series Five of A Touch of Frost. Episode titles: Penny For The Guy House Calls True Confessions No Other Love.
Set against the Iranian hostage crisis of 1979 and 1980, Ben Afflecks Argo is a nerve-jangling footnote to the birth of Ayatollah Khomeinis Islamic Republic. The movie opens at the crest of the 1979 revolution--the storming of the US embassy in Tehran, and the escape of six diplomats to the precarious safety of the Canadian ambassadors residence. To the rescue is Tony Mendez--a composed CIA agent whose heroism remained classified until 1997--and his state-approved plan to get the stranded embassy staff out of Iran under a brazen cover story: theyre an innocent film crew on a location hunt for the fake sci-fi blockbuster Argo. Hollywood is usually pressed into the service of the state in the name of comedy (either burying dictators in Team America: World Police or just bad news in Barry Levinsons Wag the Dog), but Argo is a true story, and the tone of Affleck's Oscar-winning script is carefully split, switching between mounting tension in consular Tehran and a satire of the Hollywood machine as fronted by Alan Arkin and John Goodman--two raffish producers hired by Mendez to reverse-engineer some convincing buzz for the Argo movie. Affleck himself takes the role of Mendez, the steady-eyed agent betting everything on Hollywoods age-old efficiency at creating a media circus for a project long before it exists. History starts out as farce and ends up a tragedy, remarks Goodman, but Argo ends on a patriotic upbeat, and doesnt reflect much on history. It politely nods at the context of Irans attitude to the West, and were told about but not shown--bar the blank rage of the revolutionary mob--Irans anger at the Westerly flow of resources under Shah Pahlavi. Instead, Argo concentrates on the eggshell complexities of deception in plain sight, including a climactic set-piece in which Mendez team must fend their way through layers of suspicious Iranian airport security--with imminent capture, execution and political calamity only on the other side of their paper-thin pretext. It may have the ring of historical escapism, but Argo holds its nerve as a great Hollywood escape. --Leo Batchelor /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif";}
Titles Comprise: Hudsucker Proxy: Hudsucker Industries is flourishing. Profits are stupendous and stock is at an all-time high. So when their founder Waring Hudsucker leaps to his death from the 44th floor his board of directors is thrown into panic. Hudsucker has not left a will and his majority shareholding in the company must therefore soon be offered for sale to the public. But scheming Vice President Sidney J. Mussburger (Paul Newman) has a plan. He'll install a complete imbecile as Chairman and devalue the stock to a level where the rest of the board can acquire controlling interests for themselves. The Big Lebowski: 'The Dude' Jeff Lebowski (Jeff Bridges) is unemployed and laid-back. That is until he becomes a victim of mistaken identity two thugs breaking into his apartment in the errant belief that they are accosting Jeff Lebowski the Pasadena millionaire. In hope of getting a replacement for his soiled carpet 'the Dude' visits his wealthy namesake and with buddy ex 'Nam' vet. Walter Sobchak (John Goodman) he is swept into a labyrinthine comedy/thriller of extortion embezzlement sex dope German Nihilists White Russians mysterious cowboys Shomer Shabbos bowling and severed toes... Barton Fink: John Turturro shines in the lead role in Barton Fink the Coen Brothers' (Miller's Crossing Fargo) hilarious satire set in the 1940s Hollywood. Fink is a New York playwright who reluctantly relocates to Hollywood to write screenplays. Ordered to write a low budget screenplay about wrestling Fink manages to type one sentence and then...nothing! Although his chatty insurance salesman neighbour Charlie (John Goodman) helps out by teaching Fink about wrestling the clock ticks the temperature rises and Fink's life spins more and more out of control. Intolerable Cruelty: Divorce attorney Miles Massey has got it all. Serial gold-digger Marilyn Rexroth wants it all. A hilarious battle of deceit and cunning ensues when Miles falls for Marilyn with each one trying to outsmart the other. Underhand tactics deceptions and an undeniable attraction escalate as Marilyn and Miles square off in this classic battle of the sexes... Blood Simple: Deep in the heart of Texas a jealous bar owner hires a private eye to kill his wife and her lover. The sleazy hitman double-crosses the husband killing him instead and pocketing the cash. The perfect crime or so it seems but disposing of the corpse is not so simple. Blood Simple uncoils its film noir plot with audacious style dense atmosphere and blood-curdling twists. Burn After Reading: When a disc filled with some of the CIA's most irrelevant secrets gets in the hands of two determined but dim-witted gym employees the duo are intent on exploiting their find. But since blackmail is a trade better left for the experts events soon spiral out of everyone's and anyone's control resulting in a non-stop series of hilarious encounters! From Joel and Ethan Coen the Academy Award winning directors of No Country For Old Men and The Big Lebowski comes this brilliantly clever and endlessly entertaining movie that critics are calling smart funny and original. A Serious Man: Larry Nidus is a good man. He is a loving husband a committed father and a dedicated professor who always does the fair and just thing in the face of daily temptations. But one day everything starts to go wrong. Academy Award winning filmmakers Joel and Ethan Coen bring their famously wicked sense of humor to this every day tale about a moral man who sees the world inexplicably turn against him in this darkest of comedies.
America's favourite dysfunctional family - Roseanne Conner (Roseanne Barr) husband Dan (John Goodman) her sister Jackie (Laurie Metcalf) and kids Becky (Lecy Goranson) Darlene (Sara Gilbert) and D.J. (Michael Fishman) - is back! An unforgettable season of odd jobs and bathtub dreams broken romance and Halloween pranks weight-loss programs and school assembly humiliations the arrival of Arnie Thomas and the reunion with Ziggy Dan's dad hooking up with Crystal Jackie joining
Based on Tom Sharpes satirical novel and set in a fictional, all-male Cambridge College, 1987s Porterhouse Blue is a crusty delight. Ian Richardson stars as the austere moderniser who takes over as master of Porterhouse with a view to bringing in radical changes; David Jason is Skullion, head porter for 45 years and a bulldog-style traditionalist.Porterhouse Blue is a wonderfully grotesque and not inaccurate depiction of an Oxbridge college that has set itself resolutely and decadently against the modern world. Crammed with hoggish, port-swilling dons who are more concerned that the college stay "head of the river" than with academic achievement, the highlight of Porterhouses year is the Founders Feast, in which students and tutors gorge debauchedly on roast swan stuffed with widgeon, to the horror of the new vegetarian master. Jasons Skullion looks on approvingly: hes a stickler for Porterhouses inverted values, disapproving, for instance, of student Zipser (John Sessions), the only fellow at the college actually there to work. When the master eventually fires Skullion, the forces of traditionalism gather in sympathy and attempt their revenge.Unfolding over 190 leisurely minutes, Porterhouse Blue is an elegantly turned comedy in which practically every morsel of dialogue is to be savoured for its delicious tang. Jason and Richardson are reliably excellent in what is an overall exhibition of British TV thespianism at its finest. --David Stubbs
At the height of the stand-up comedy boom of the 1980s, Punchline offered the revelation that many comedians were, in fact, rather psychologically unstable individuals for whom performing was an outlet for hostility and aggression. Wow--who would have guessed? This film focuses on two who meet and forge an unlikely friendship: Tom Hanks plays a caustic, self-destructive comic looking for his big break and Sally Field plays a more Roseanne-like comedian who begins neglecting her husband (John Goodman) and children because she gets such a kick out of performing. The offstage stuff is strictly soap opera, but Hanks and Field both develop solid comedic rhythms once they get behind a microphone. --Marshall Fine, Amazon.com
Set against the Iranian hostage crisis of 1979 and 1980, Ben Afflecks Argo is a nerve-jangling footnote to the birth of Ayatollah Khomeinis Islamic Republic. The movie opens at the crest of the 1979 revolution--the storming of the US embassy in Tehran, and the escape of six diplomats to the precarious safety of the Canadian ambassadors residence. To the rescue is Tony Mendez--a composed CIA agent whose heroism remained classified until 1997--and his state-approved plan to get the stranded embassy staff out of Iran under a brazen cover story: theyre an innocent film crew on a location hunt for the fake sci-fi blockbuster Argo. Hollywood is usually pressed into the service of the state in the name of comedy (either burying dictators in Team America: World Police or just bad news in Barry Levinsons Wag the Dog), but Argo is a true story, and the tone of Affleck's Oscar-winning script is carefully split, switching between mounting tension in consular Tehran and a satire of the Hollywood machine as fronted by Alan Arkin and John Goodman--two raffish producers hired by Mendez to reverse-engineer some convincing buzz for the Argo movie. Affleck himself takes the role of Mendez, the steady-eyed agent betting everything on Hollywoods age-old efficiency at creating a media circus for a project long before it exists. History starts out as farce and ends up a tragedy, remarks Goodman, but Argo ends on a patriotic upbeat, and doesnt reflect much on history. It politely nods at the context of Irans attitude to the West, and were told about but not shown--bar the blank rage of the revolutionary mob--Irans anger at the Westerly flow of resources under Shah Pahlavi. Instead, Argo concentrates on the eggshell complexities of deception in plain sight, including a climactic set-piece in which Mendez team must fend their way through layers of suspicious Iranian airport security--with imminent capture, execution and political calamity only on the other side of their paper-thin pretext. It may have the ring of historical escapism, but Argo holds its nerve as a great Hollywood escape. --Leo Batchelor
As Treme opens, a group of New Orleans residents are celebrating their first "second-line parade" since Hurricane Katrina blew through the city and across the Gulf Coast just three months earlier. Folks are strutting and dancing, a brass band is blowing a joyful noise--it's a celebration of "NOLA's" resilience and proud spirit ("Won't bow--don't know how," as they say). But there's darkness just below this shiny surface, and anyone familiar with The Wire, cocreator-writer David Simon's last show, won't be a bit surprised to find that he and fellow Treme writer-producer Eric Overmyer aren't shy about going there. The New Orleans we see is a city barely starting to recover from what one character calls "a man-made catastrophe of epic proportions and decades in the making." Many people's homes are gone, and insurance payments are a rumor. Other locals haven't come back, and still others are simply missing. The people have been betrayed by their own government, and New Orleans's reputation for corruption is hardly helped by the fact that the police force is in such disarray that the line between cop and criminal is sometimes so fine as to be nonexistent. Bad, but not all bad. NOLA still has its cuisine, its communities, and best of all its music, which permeates every chapter, from the Rebirth Brass Band's "I Feel Like Funkin' It Up" in episode 1 to Allen Toussaint and "Cha Dooky-Doo" in episode 10. There's Dixieland and zydeco, natch, but also hip-hop and rock; there are NOLA stalwarts like Dr. John, Ernie K-Doe, Lee Dorsey, and the Meters (as well as appearances by Elvis Costello, Steve Earle, and others), but plenty of younger, lesser knowns, too. Whether we hear it in the street, in a club or a recording studio, at home, or anywhere, music is the lifeblood of the city and this series, and it's handled brilliantly. Treme has a lot of characters and their stories to keep up with. There's trombonist Antoine Batiste (Wendell Pierce), a wonderful player but kind of a dog, especially to his current baby mama and his ex-wife, LaDonna (Khandi Alexander), a bar owner who's desperately searching for her missing brother. There's Creighton Bernette (John Goodman), a writer preoccupied with telling the world what's really going on in the city, and his wife Toni (Melissa Leo), a lawyer and thorn in the side of the authorities. There's Davis McAlary (Steve Zahn), a well-meaning but annoyingly clueless radio DJ, his occasional girlfriend Janette (Kim Dickens), who's struggling to keep her restaurant open, and Albert Lambreaux (Clarke Peters), who returns from Houston, finds his house in ruins, and sets about rebuilding it. You might not like all of them. Not all get through the series unscathed, or even alive. But that's part of the deal. The show feels authentic: dialogue (natural, plain, and profane), story lines, locations, camera work, the utter lack of gloss and glamour--this is no Chamber of Commerce travelogue. It's not a documentary either, but there are moments when it's just down and dirty enough to pass for one. --Sam Graham
After the visual bombast of many contemporary CGI and motion-capture features, the drawn characters in The Princess and the Frog, Walt Disney Studio's eagerly awaited return to traditional animation, feel doubly welcome. Directed by John Musker and Ron Clements (The Little Mermaid, Aladdin), The Princess and the Frog moves the classic fairy tale to a snazzy version of 1920s New Orleans. Tiana (voice by Anika Noni Rose), the first African-American Disney heroine, is not a princess, but a young woman who hopes to fulfill her father's dream of opening a restaurant to serve food that will bring together people from all walks of life. Tiana may wish upon a star, but she believes that hard work is the way to fulfill your aspirations. Her dedication clashes with the cheerful idleness of the visiting prince Naveen (Bruno Campos). A voodoo spell cast by Dr. Facilier (Keith David) in a showstopping number by composer Randy Newman initiates the events that will bring the mismatched hero and heroine together. However, the animation of three supporting characters--Louis (Michael-Leon Wooley), a jazz-playing alligator; Ray (Jim Cummings), a Cajun firefly; and 197-year-old voodoo priestess Mama Odie (Jenifer Lewis)--is so outstanding, it nearly steals the film. Alternately funny, touching, and dramatic, The Princess and the Frog is an all-too-rare example of a movie a family can enjoy together, with the most and least sophisticated members appreciating different elements. The film is also a welcome sign that the beleaguered Disney Feature Animation Studio has turned away from such disasters as Home on the Range, Chicken Little, and Meet the Robinsons and is once again moving in the right direction. --Charles Solomon
The Blues Brothers (Dir. John Landis 1980): They'll never get caught. They're on a mission from God. After the release of Jake Blues (John Belushi) from prison he and brother Elwood (Dan Aykroyd) go to visit the orphanage where they were raised by nuns. They learn that the church stopped its support and will sell the place unless the tax on the property is paid within 11 days. The brothers decide to raise the money by putting their blues band back together and stagin
A Biographical film charting the life loves and losses of legendary baseball player George Herman ""Babe"" Ruth. The Babe begins with Ruth's days in a Baltimore boys' school where Brother Mathias takes Babe under his wing and teaches him to play baseball. The film then follows him through his phenomenal career and chaotic personal life.
Starring Academy Award� Nominee John Hawkes, Academy Award Nominee William H. Macy and Academy Award Winner Helen Hunt, the film is based on the true story of California-based journalist and poet Mark O'Brien. Portrayed by the exceptionally gifted John Hawkes--who gives a career-defining performance--O'Brien's story is the immensely poignant and surprisingly funny tale of a man, paralysed by polio who--at age 38--is determined to finally lose his virginity.
Jim Bennett (Academy Award®-nominee Mark Wahlberg) is a risk taker. Both an English professor and a high-stakes gambler Bennett bets it all when he borrows from a gangster (Michael Kenneth Williams) and offers his own life as collateral. Always one step ahead Bennett pits his creditor against the operator of a gambling ring (Alvin Ing) and leaves his dysfunctional relationship with his wealthy mother (Academy Award®-winner Jessica Lange) in his wake. He plays both sides immersing himself in an illicit underground world while garnering the attention of Frank (John Goodman) a loan shark with a paternal interest in Bennett’s future. As his relationship with a student (Brie Larson) deepens Bennett must take the ultimate risk for a second chance…
A complete collection of the best of British war movies! Films comprise: 1. The Colditz Story (Dir. Guy Hamilton 1955) 2. The Cruel Sea (Dir. Charles Frend 1953) 3. The Dam Busters (Dir. Michael Anderson 1954) 4. I Was Monty's Double (Dir. John Guillermin 1958) 5. Ice Cold In Alex (Dir. J. Lee Thompson 1958) 6. Went The Day Well? (Dir. Alberto Cavalcanti 1942) 7. The Wooden Horse (Dir. Jack Lee 1950) 8. They Who Dare (Dir. Lewis Milestone 1954) 9. Cross Of Iron (Dir. Sam Peckinpah 1977) 10. The Way Ahead (Dir. Carol Reed 1944) 11. In Which We Serve (Dir. Noel Coward/David Lean 1942) 12. The Battle Of The River Plate (Dir. Michael Powell/Emeric Pressburger 1956)
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