World premiere of this highly sought-after ghost story from the BBC released in the BFI’s acclaimed Flipside series. Based on a short story by Sheridan Le Fanu Schalcken the Painter was originally shown in the Omnibus strand on BBC2 during Christmas 1979. The story follows the young seventeenth-century Flemish painter Godfried Schalcken who forsakes love for ambition but discovers that there is still a terrible price to pay for his choice. One of the most frequently requested programmes in the BBC archive Schalcken the Painter is an exquisitely shot atmospheric horror film which explores the uneasy dark relationship between art commerce and erotic desire. The superb cast includes Jeremy Clyde Maurice Denham and Cheryl Kennedy. Newly transferred to High Definition from film materials preserved in the BFI National Archive the release also includes the rare experimental Edgar Allan Poe adaptation The Pit (1962) assistant directed by Peter Collinson. Contents World premiere release on DVD and Blu-ray Part of the BFI’s celebrated Flipside series Interview with Director Leslie Megahey The Pit (1962 Edward Abraham 25 mins): experimental film based on the classic Poe tale The Pit and the Pendulum Fully illustrated booklet with original essays Other extras TBC
You could say this is one of the greatest comedies ever but the Monty Python team said it first! 'Life Of Brian' is all about (and here's the big surprise) the life of Brian who was born in a Bethlehem manger next door to Jesus. Three wise men believe he is the messiah but it becomes apparent that he is only Brian. It's written and performed by the Monty Python lads so you know what you're in for; if you don't put this disc down and go out while it's safe!
Monty Python's Terry Gilliam (Fear and Loathing in Las Vegas) directs this wild, wild version of the stories of Baron Munchausen, pushing the limits of 1989 special effects technology to bring us such sights as a horse divided in half and running around in two parts, and a giant Robin Williams with his head flying off his shoulders. Basically, this is a treat for Gilliam fans, as the sustaining idea of the film runs out of steam, and manic energy alone keeps the momentum going. Casual viewers might find it tedious after awhile. There are nice parts for fellow Python Eric Idle, as well as Sting, Alison Steadman, and Uma Thurman as a dazzlingly beautiful Venus on a half-shell. Gilliam had greater artistic and commercial success with Brazil, The Fisher King and 12 Monkeys. --Tom Keogh
A Nightmare On Elm Street Nancy (Heather Langenkamp) is having grisly nightmares. Meanwhile her high-school friends who are having the very same dreams are being slaughtered in their sleep by the hideous fiend of their shared nightmares. When the police ignore her explanation she herself must confront the killer in his shadowy realm. From modern horror master Wes Craven (Scream Scream 2) comes a timeless shocker that remains the standard bearer for terror. Featuring Jo
Zombies! Werewolves! Atomic Mutation! Intergalactic Avians! Let this quartet of classic terrors take you back to the golden age of B-Movie Monsters! A mob boss hires an ex-Nazi scientist to reanimate his dead thugs in Creature with the Atom Brain. An auto-accident survivor is used as an experimental subject to create a vaccine for nuclear fall-out with hair-raising side-effects in The Werewolf. Treasure hunters get more than they bargained for in the search for a cargo of diamonds that went down with a sunken ship when they discover the zombified crew members are guarding the loot in Zombies of Mora Tau. Meanwhile, an enormous bird from outer-space descends to chow down on the people of planet Earth in The Giant Claw! Four fantastic feature presentations from prolific producer Sam Katzman with a bounty of brand new extras and a raft of new writing by a range of respected raconteurs. These Cold War Creatures are coming for you! Special Features: High Definition Blu-ray (1080p) presentations of all 4 films Original uncompressed mono audio for all films Optional English subtitles for the deaf and hard of hearing Fully illustrated 60-page collector's book featuring extensive new writing by Laura Drazin Boyes, Neil Mitchell, Barry Forshaw, Jon Towlson and Jackson Cooper 80-page collector's art book featuring reproduction stills and artwork from each film and new writing by historian and critic Stephen R. Bissette 2 double-sided posters featuring newly commissioned artwork by Matt Griffin Reversible sleeves featuring original and newly commissioned artwork for each film by Matt Griffin Disc 1 - Create with the Atom Brain Brand-new introduction by historian and critic Kim Newman Brand-new audio commentary by critic Russell Dyball Sam Katzman: Before and Beyond the Cold War Creatures, a brand-new feature-length illustrated presentation on the life, career and films of Sam Katzman by historian and critic Stephen R. Bissette Condensed Super 8mm version of Creature with the Atom Brain, produced for home cinema viewing Theatrical Trailer Image Gallery Disc 2 - The Werewolf Brand-new introduction by critic Kim Newman Brand-new audio commentary by critic Lee Gambin Beyond Window Dressing, a brand-new visual essay exploring the oft-overlooked role of women in the films of Sam Katzman by historian and critic Alexandra Heller-Nicholas Condensed Super 8mm version of The Werewolf, produced for home cinema viewing Theatrical Trailer Image Gallery Disc 3 - The Zombies of Mora Tau Brand-new introduction by critic Kim Newman Brand-new audio commentary by critic Kat Ellinger Atomic Terror: Genre in Transformation, a brand-new visual essay exploring the intersection of mythical horror creatures and the rational world of science in the films of Sam Katzman by critic Josh Hurtado. Theatrical Trailer Image Gallery Disc 4 - The Giant Claw Brand-new introduction by critic Kim Newman Brand-new audio commentary by critics Emma Westwood and Cerise Howard Family Endangered!, a brand-new visual essay examining the theme of Cold War paranoia in Sam Katzman monster movies, by critic Mike White Condensed Super 8mm version of The Giant Claw, produced for home cinema viewing. Theatrical Trailer Image Gallery
In the Bermuda Triangle nothing stays lost forever... From director Brian Singer (X-Men Usual Suspects) and producer Dean Devlin (Stargate Independence Day) comes a stunning new original mini-series courtesy of the Sci-fi Channel. Billionaire Eric Benireall (Sam Neill) is losing his cargo ships and their crews at a frightening pace - and he wants answers. His bemused hand-picked team of a subject-specific experts include: sceptical tabloid journalist Howard
A talented musician struggles to survive the destruction of the Warsaw ghetto and the concentration camps of World War II.
Filmed in VIDECOLOR--[explosions, drum roll, music builds to a climax]--and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a)the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here. As to the characters, the clean-cut Tracey boys take second place in the audience's affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catchphrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood. On this DVD: The four episodes are: "Vault of Death", "The Mighty Atom", "City of Fire" and "The Imposters". Amazon.com
Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here.As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood.On this DVD: The four episodes are: "The Man from MI5", "Cry Wolf", "Danger at Ocean Deep" and "Move and You're Dead".
Someone to Watch Over Me is a stylish, smart film noir directed by Ridley Scott (Blade Runner). The movie stars Tom Berenger as a New York cop and family man who falls for the rich and beautiful witness (Mimi Rogers) he's assigned to protect. Scott, who always displays a distinctive eye for extraordinary art direction, does something here he should be doing a lot more often: directing contemporary noir. Berenger and Rogers rise to the occasion, seemingly aware that they're making something special. --Tom Keogh, Amazon.com
Sergeant Cork: Series 1 (4 Discs)
Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here.As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood.On this DVD: The four episodes are: "Edge of Impact", "Day of Disaster", Thirty Minutes After Noon" and "Desperate Intruder".
In the melting pot of 1890s London Sergeant Cork works for Scotland Yard’s newly formed Criminal Investigation Department enthusiastically employing the pioneering techniques of the new science of forensics to tackle crimes born of poverty and deprivation passion vengeance and greed. Ably assisted by youthful detective Bob Marriott Cork is astute years ahead of his time and knows that even the most convincing evidence can all too often deceive.
Collection of five classic British comedies. In 'Kind Hearts and Coronets' (1949) an embittered aristocrat sets out to murder the eight heirs that stand between him and succession to the family title. Louis Mazzini (Dennis Price) holds no love for the family he counts as relations, the D'Ascoynes. The D'Ascoynes cast his mother out when she decided to marry a commoner, Louis's father, and on her death refused to allow her to be buried in the family vault. An outraged Louis vows revenge and begins working his way into the trust of the family to provide him with the opportunity to bump off the male heirs (all played by Alec Guinness) one by one. However, complications arise when he becomes romantically entangled with one of the widows of his victims, Edith D'Ascoyne (Valerie Hobson). Will Louis be able to stay the course and murder his way to a dukedom? In 'Passport to Pimlico' (1949) an unexploded bomb goes off in Pimlico, uncovering documents which reveal that this part of London in fact belongs to Burgundy in France. An autonomous state is set up in a spirit of optimism, but the petty squabbles of everyday life soon shatter the utopian vision of a non-restrictive nation. In 'Whisky Galore!' (1949), set during the Second World War, the inhabitants of a small Hebridean island are wilting under a chronic shortage of whisky. When a ship is wrecked on the shore, it is discovered to contain 50,000 cases of malt, which are promptly appropriated by the men of the island. All is well until an English Home Guard commander - determined to see the whisky restored to its rightful owners - calls in Her Majesty's Customs, and the islanders make frantic attempts to hide their treasured alcoholic booty! In 'The Man in the White Suite' (1951) Sidney Stratton (Guinness) is a laboratory cleaner in a textile factory who invents a material that will neither wear out nor become dirty. Initially hailed as a great discovery, Sidney's astonishing invention is suffocated by the management when they realise that if it never wears out, people will only ever have to purchase one suit of clothing. Finally, in 'The Ladykillers' (1955) a group of bank robbers struggle to silence the eccentric old lady who discovers their crime. Mrs Wilberforce (Katie Johnson) lives alone in King's Cross with her parrots. She has been led to believe that the group of men renting rooms from her, Professor Marcus (Guinness), the Major (Cecil Parker), Louis (Herbert Lom), Harry (Peter Sellers) and One-Round (Danny Green), are classical musicians. However, when one of the group's cases gets caught in the door and opens to reveal, not a musical instrument, but a plethora of banknotes, the virtuous Mrs Wilberforce vows to go to the police with the identities of the men. The criminals agree that the old lady has to be killed to silence her, but will this be as straightforward as it sounds?
In Waxwork a waxwork museum appears overnight in an American small town and sinister showman David Warner invites a group of typical teens to a midnight party. However, as expected, the place is home to nasty secrets, and the blundering kids find themselves transported via the exhibits into the presence of "the 18 most evil men in history". What this means is that the film gets to trot out gory vignettes featuring such horror staples as Count Dracula (played inaptly with designer stubble and a Clint croak by ex-Tarzan Miles O'Keefe), the Marquis de Sade, an anonymous werewolf with floppy bunny ears (John Rhys-Davies in human form) and the Mummy. Nerdy hero Zach Galligan appeals to wheelchair-bound monster fighter Patrick MacNee for help. Waxwork is strictly a film buff's movie--with Warner and MacNee turning in knowingly camp performances, and references to everything from Crimes of Passion to Little Shop of Horrors cluttering up its very straggly story line. It's not without ragged charms, though the tone veers between comic and sick (the de Sade scene, although inexplicit, features some lurid dialogue) more or less at random. The effects are likewise variable, and in any case rather fudged by direction, which frequently fails to point up the gags properly. It winds up with a scrappy Blazing Saddles-style fight between the forces of Good and a whole pack of monsters, and the budget runs out before the climactic burning-down-the-waxworks scene. The episodic approach echoes the old Amicus omnibus horrors (Dr Terror's House of Horrors, The House that Dripped Blood etc.), and various cameos allow director Anthony Hickox to parody/emulate the styles of Hammer films, Night of the Living Dead and Roger Corman's Edgar Allan Poe adaptations. On the DVD: It's a nice-looking and sounding print, but fullscreen format. The only extras are filmographies taken from the IMDB and the trailer.--Kim Newman
For a limited time only, Universal Pictures are re-releasing some of their most beloved Cinema Classics in cinemas around the UK, including "The Blues Brothers".
Legendary producer-director Howard Hawks teams with two equally legendary stars, John Wayne and Robert Mitchum, in this classic Western drama. Mitchum plays to perfection an alcoholic but gutsy sheriff who relentlessly battles the dark side of the wild West, ruthless cattle barons and crooked businessmen. The Duke gives an equally adept performance as the sheriff's old friend who knows his way around a gunfight. Filled with brawling action and humor, El Dorado delivers the goods. James Caan and Ed Asner co-star.
Cool and sophisticated Tolen has a monopoly on womanising - with a long line of conquests to prove it - while the naive and awkward Colin desperately wants a piece of it. But when Colin falls for an innocent country girl it's not long before the self assured Tolen moves in for the kill. Is all fair in love and war or can Colin get the knack and beat Tolen at his own game?
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