INCLUDES OVER 4.5 HOURS EXCLUSIVE BONUS MATERIAL. Featuring interviews with former employees, fellow musicians, family members and journalists, and supported by original and exclusive never-seen-before footage, this star-studded rockumentary offers a fascinating insight into the creation and recording of one of the most ground-breaking and influential albums in pop history. BONUS MATERIAL: 1) Liverpool/London Introduced by Alan G. Parker 2) Director and Producer interviews 3) The Bootleg Beatles 4) Andy Peebles John Lennon Interview December 80 5) Pete Best Interview at The Hard Day's Night 6) Julia Baird (John Lennon's sister) Interview 7) John Lennon Blue Plaque 8) The Merseybeat 9) Ringo archive
Seven years after he earned his first screen credit as the writer of Fast Times at Ridgemont High, former Rolling Stone writer Cameron Crowe made his directorial debut with this acclaimed romantic comedy starring John Cusack and Ione Skye as unlikely lovers on the cusp of adulthood. The casting is perfect and Crowe's rookie direction is appropriately unobtrusive, no doubt influenced by his actor-loving, Oscar-winning mentor, James L. Brooks. But the real strength of Crowe's work is his exceptional writing, his timely grasp of contemporary rhythms and language (he's frequently called "the voice of a generation"), and the rich humour and depth of his fully developed characters. In Say Anything, Cusack and Skye play recent high-school graduates enjoying one final summer before leaping into a lifetime of adult responsibilities. Lloyd (Cusack) is an aspiring kickboxer with no definite plans; Diane (Skye) is a valedictorian with plans to further her education in Europe. Together they find unlikely bliss, but there's also turbulence when Diane's father (John Mahoney)--who only wants what's best for his daughter--is charged with fraud and tax evasion. Favouring strong performances over obtrusive visual style, Crowe focuses on his unique characters and the ambitions and fears that define them; the movie's a treasure trove of quiet, often humorous revelations of personality. Lili Taylor and Eric Stoltz score high marks for memorable supporting roles, and Cusack's own sister Joan is perfect in scenes with her on- and offscreen brother. A rare romantic comedy that's as funny as it is dramatically honest, Say Anything marked the arrival of a gifted writer-director who followed up with the underrated Singles before scoring his first box-office smash with Jerry Maguire. --Jeff Shannon
Boris Karloff stars as the screen's most memorable monster in what many consider to be the greatest horror film ever made. Dr. Frankenstein (Colin Clive) dares to tamper with life and death by creating a human monster (Karloff) out of lifeless body parts. Its' director James Whale's adaptation of the Mary Shelley novel blended with Karloff's compassionate portrayal of a creature groping for identity that makes Frankenstein a masterpiece not only of the genre but for all time.
A sweet-natured, small-town guy inherits a controlling stake in a media conglomerate and begins to do business his way.
In 1964 the biggest band on the planet made their big screen debut with A Hard Day's Night a ground-breaking film that presented a 'typical' day in the life of The Fab Four as they tried to outrun screaming fans find Paul's mischievous grandfather deal with a stressed TV producer and make it to the show on time. Directed with unrelenting verve by Richard Lester whose innovative techniques paved the way for generations of music videos the film's frenetic mix of comic escapades legendary one-liners and pop perfection captured a moment in time that defined a generation. The most iconic band in music history had arrived. Special Features: In their own voices: A new piece combining 1964 interviews with The Beatles with behind-the-scenes footage and photos You can't do that: The Making of 'A Hard Day's Night': a documentary by producer Walter Shenson including an outtake performance by The Beatles Things they said today: Documentary about the film featuring director Richard Lester music producer George Martin screenwriter Alun Owen and Cinematographer Gilbert Taylor Picturewise: A new piece about Richard Lester's early work featuring a new audio interview with the director Anatomy of a style: A new piece on Richard Lester's methods Interview with author Mark Lewisohn Audio Commentary with Cast and Crew 50th Anniversary Trailer
Directed by Brian De Palm Raising Cain is about Carter Nix a man who obsesses over the upbringing of his daughter. But is this all his wife needs to worry about? A spate of local kidnappings forces her to accept the possibility that he may be trying to recreate the twisted mind-control experiments of his discredited psychologist father.
One man heads a highly skilled professional group of game hunters in Africa. Only they don't use bullets - they capture the ferocious big game with strong rope and cameras for zoos and circus attractions. It is an exciting business that pits man against beast. ""Hatari"" means danger in Swahili.
The creative minds behind Disney/Pixar's groundbreaking animated blockbusters invite you back inside the toy box for a heartwarming and hilarious movie experience you'll never forget. In Toy Story 3, Woody (voiced by Tom Hanks), Buzz Lightyear (voiced by Tim Allen) and the rest of the Toy Story gang return for an all-new adventure, along with a few new faces - some plastic, some plush - including Barbie's counterpart Ken (voiced by Michael Keaton), a thespian hedgehog named Mr. Pricklepants (voiced by Timothy Dalton) and a strawberry-scented bear named Lots-O'-Huggin' Bear (voiced by Ned Beatty). As Andy prepares to depart for college, Woody, Buzz, Jessie and the rest of Andy's faithful toys wonder what will become of them. But, when a mix-up lands them at Sunnyside Daycare, they meet a host of new toys and soon discover a wild new adventure is just beginning. Buzzing with hours of bonus features, including the Pixar short film Day & Night, Toy Story 3 goes to infinity and beyond!
The unlikely duo of Jackie Chan and Chris Tucker are reunited in this sequel. This time round their investigations take them from Hong Kong to L.A.
Packed with more than 750 dazzling visual effects, this US$70 million adventure does more (and less) than give the 1965-68 TV series a state-of-the-art face-lift. Aimed at an audience that wasn't born when the series originally aired, the sci-fi extravaganza doesn't even require familiarity, despite cameo appearances by several of the TV show's original cast members. Instead it's a high-tech hybrid of the original premise with enough sensory overload to qualify as a spectacular big-screen video game, supported by a time-travel premise that's adequately clever but hardly original. Lost in Space is certainly never boring, and visually it's an occasionally awesome demonstration of special effects technology. But in its attempt to be all things to all demographics, the movie's more of a marketing ploy than a satisfying adventure, thankfully dispensing with the TV show's cheesy camp but otherwise squandering a promising cast in favour of eye-candy and ephemeral storytelling. --Jeff Shannon
Four men and a girl blast off on mankind’s first expedition to the moon but due to a cataclysmic cosmic event are sent hurtling out of control to Mars. Once on the Red Planet the crew discovers an atomic war-ravaged world inhabited by mutants! The first space exploration film of the Atomic Age so unforgettable it's impact has spanned half a century. A landmark science fiction adventure deftly bought to the screen by famed writer-director Kurt Newmann (The Fly Kronos).
There have been many film and TV adaptations of Oliver Twist but this 1948 production from director David Lean remains the definitive screen interpretation of the Charles Dickens classic. From the ominous symbolism of its opening storm sequence (in which Oliver's pregnant, ill-fated mother struggles to reach shelter before childbirth) to the mob-scene climax that provokes Bill Sikes's dreadful comeuppance, this breathtaking black-and-white film remains loyal to Dickens while distilling the story into its purest cinematic essence.Every detail is perfect--Lean even includes a coffin-shaped snuffbox for the cruel Mr. Sowerberry--and as young Oliver, eight-year-old John Howard Davies (who would later produce Monty Python's Flying Circus for the BBC) perfectly expresses the orphan's boyish wonderment, stern determination and waifish vulnerability. Best of all is Alec Guinness as Fagin, so devious and yet so delightfully appealing under his beak-nosed (and, at the time, highly controversial) make-up. (Many complained that Fagin's huge nose and greedy demeanour presented an anti-Semitic stereotype, even though Lean never identifies Fagin as Jewish; for this reason, the film wasn't shown in the US until three years after its British release.) Likewise, young Anthony Newley is artfully dodgy as Fagin's loyal accomplice, the Artful Dodger. Guinness's performance would later provide strong inspiration for Ron Moody's equally splendid portrayal of Fagin in the Oscar-winning Oliver! and while that 1968 musical remains wonderfully entertaining, it is Lean's film that hews closest to Dickens' vision. The authentic recreation of 19th-century London is marvellous to behold; Guy Green's cinematography is so shadowy and stylised that it almost qualifies as Dickensian film noir. Lean is surprisingly blunt in conveying Dickens's theme of cruelty but his film never loses sight of the warmth and humanity that Oliver embodies. --Jeff Shannon
After the lavish, effects-heavy splash of Moonraker, the twelfth Bond film and the seventh with Roger Moore concentrates more on core car-chase-and-crumpet values, evoking an almost retro feel that harks back to the first pressings of the Bond vintage in the 1960s. Starting to look a little wrinkly around the edges by this point, Roger Moore toughens his usually smarmy act up here with a gratuitous bit of killing, casually kicking a baddie and his car over a precipice, reviving memories of the ruthless streak with which Sean Connery made his name. Good old-fashioned Cold War politics lie at the heart of the plot, concerning a weapons system hijacked in the Mediterranean Bond must rescue. He's assisted by the exquisite Carole Bouquet, the only actress in history who can claim to have been both a 'Bond girl' and the star of a Luis Buñuel movie (That Obscure Object of Desire). Sadly, this is the first film to lack Bernard Lee's spymaster M, the actor having died beforehand, although British comedienne Janet Brown is on hand for an amusing Margaret Thatcher impersonation. --Leslie FelperinOn the DVD: The first audio commentary here is another one of those edited selections of interviews with sundry cast and crew members, tied together by an over-earnest host. Producer Michael G Wilson and others provide a somewhat more illuminating second commentary track. Once again the best extra feature is the "making of" documentary, which gives an almost scene-by-scene breakdown of the movie. The animated storyboard sequences will appeal to filmmaking aficionados. Avoid, if at all possible, the Sheena Easton video of arguably the most forgettable Bond song of all time (both song and score were perpetrated by series newcomer Bill Conti, not the estimable John Barry). --Mark Walker
From the makers of "Hey Dude Where's My Car?" comes the story of two twenty-something stoner room mates who set out on a quest for the perfect hamburger that turns into the trip of their lives.
Michael Bay's hilarious action comedy Pain and Gain is GoodFellas on steroids. When an ambitious group of personal trainers (Mark Wahlberg Dwayne Johnson and Anthony Mackie) decide to chase the American Dream they get caught up in a criminal enterprise that goes horribly wrong. Now living large will take everything they've got in the unbelievable true story that critics are calling hilarious smart clever and fresh.
Renowned director Shane Meadows' multiple BAFTA award-winning drama charts the turbulent lives of a group of friends looking for love, a laugh and a future in 1980s Britain.
A former youth boxing champion, Jimmy McCabe (Johnny Harris), is a man desperately in search of hope, but looking in all the wrong places. When he hits rock bottom he turns to his childhood boxing club and the only family he has left.
Translating Rowan Atkinson's Mr Bean character from British television to the big screen takes a bit of a toll, but there are some hilarious sequences in this popular comedy. The eponymous Bean, a boy-man twit with a knack for getting into difficult binds (and then making them worse and worse and worse), is a London museum guard who is sent to Los Angeles in the company of the famous painting Whistler's Mother. He's mistaken as an art expert by the well-meaning curator (Peter MacNicol) of an LA museum, but Bean's famously eccentric behaviour soon causes the poor guy to almost lose his family and job. The insularity of Bean's TV world is sacrificed in this film, and that change diminishes some of the character's appeal. But Atkinson is a man naturally full of comedy, and he doesn't let his fans down. --Tom Keogh
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