A father returns from Chinatown with an unusual pet, a Mogwai--a gift for his son. The rules are simple: Keep your Mogwai away from water, bright lights and, most importantly, never--never--feed him after midnight. But the rules are inadvertently broken, and the consequences multiply at an alarming rate.
A drama with fairy tale elements as an orphaned musical prodigy uses his gift as a clue to finding his birth parents.
Adam Sandler vaulted into the US$20-million-salary stratosphere with this, his second US$100-million hit in 1998--a movie that further shows just how deeply embedded he is in the Jerry Lewis tradition of idiot comedy. He plays Bobby Boucher, a backwoods Cajun and a mentally challenged individual with a fixation on water: specifically, on serving the coolest, most refreshing H2O available to the college football team he has served since he was an adolescent. But when he's fired from his position, he takes up a similar job with a lowlier college team coached by neurotic Henry Winkler. One day at practice, Bobby loses his temper and delivers a bone-shaking tackle to the starting quarterback; before he can say, "blackened crawdads", he's the star of the team and leading it to a bowl game. But it's all against the wishes of his overprotective mother (Kathy Bates), who wants to keep her Bobby to herself--and that includes keeping him away from the floozy girlfriend (Fairuza Balk) who's sweet on him. There are two kinds of people in this world: People who find Sandler funny and people who view him as a neon-lit symbol of the decline of popular taste. You know who you are and, based on that, you can decide whether this is a movie for you. --Marshall Fine
When a virus threatens to wipe out Earth, a super powered hybrid must lead a team of elite soldiers on a mission to the aliens' world in order to save what's left of humanity.
A band of college students find themselves stalked by killer zombies on a mysterious island and take shelter in an ancient house, inside which they will uncover the secrets of the "House of the Dead."
After Henry: The Complete Series (6 Discs)
Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak
A British expedition team in Egypt discovers the ancient sealed tomb of the evil Queen Tera. But when one of the archaeologists steals a mysterious ring from the corpse's severed hand he unleashes a relentless curse upon his beautiful daughter. Is the voluptuous young woman now a reincarnation of the diabolical sorceress or has the curse of the mummy returned to reveal its horrific revenge? Andrew Keir and the luscious Valerie Leon star in this supernatural shocker based on Bram Stoker's classic novel 'Jewel Of The Seven Stars'.
Margaret (Valerie Leon) suffers a recurring nightmare in which she sees an ancient Egyptian queen, to whom she bears an uncanny resemblance, sealed up in a sarcophagus. The priests who entomb her first chop off her hand, before throwing it to jackals. They are then killed by a mysterious and powerful force that lacerates their throats. Margaret's father, Professor Fuchs (Andrew Keir), gives her a ring that he discovered in the tomb of Queen Tera 20 years before the ring was on the queen's disembodied hand. At the moment Fuchs discovered the Queen's perfectly preserved, still bleeding, body, Margaret's mother died giving birth to her. When a certain celestial conjunction is complete, and three key artefacts are assembled by Tera's corpse, the evil sorceress will be reborn EXTRAS: NEW FEATURETTE - The Pharaoh's Curse: Inside Blood From the Mummy's Tomb ORIGINAL TRAILER
Beldar and Prymaat are emissaries from Remulak a planet within the Cone Nebula 26 light years from Earth. They belong to a civilisation intent on expanding its empire by enslaving the populations of other worlds. The Coneheads' mission: conquer the Earth. When a wrong turn at Machu Pichu crash-lands them in the middle of New York's East River Beldar and Prymaat find themselves stranded and forced to assimilate into mainstream America. With INS agents in hot pursuit of these most
From its cleverly choreographed opening sequence to its heart-stopping climax on a rampant carousel, this 1951 Hitchcock classic readily earns its reputation as one of the director's finest examples of timeless cinematic suspense. It's not just a ripping-good thriller but a film student's delight and a perversely enjoyable battle of wits between tennis pro Guy (Farley Granger) and his mysterious, sycophantic admirer, Bruno (Robert Walker), who proposes a "criss-cross" scheme of traded murders. Bruno agrees to kill Guy's unfaithful wife, in return for which Guy will (or so it seems) kill Bruno's spiteful father. With an emphasis on narrative and visual strategy, Hitchcock controls the escalating tension with a master's flair for cinematic design, and the plot (coscripted by Raymond Chandler) is so tightly constructed that you'll be white-knuckled even after multiple viewings. Strangers on a Train remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. --Jeff Shannon
Set in rural North Yorkshire during the 1960s, Heartbeat's combination of crime and medical storylines, charismatic regular characters and wonderfully nostalgic soundtrack made it staple Sunday-night viewing for two decades, with the series' many prestigious awards including Best Performing Peak-Time Drama and several ITV Programme of the Year awards. Attracting a peak audience of 14 million, Heartbeat has garnered a devoted following and remains prime-time viewing world-wide. This series se...
Screwball sparks fly when CARY GRANT (Charade) and KATHARINE HEPBURN (The Philadelphia Story) let loose in one of the fastest and funniest films ever madea high-wire act of invention that took American screen comedy to new heights of absurdity. Hoping to procure a million-dollar endowment from a wealthy society matron for his museum, a hapless palaeontologist (Grant) finds himself entangled with a dizzy heiress (Hepburn) as the manic misadventures pile upa missing dinosaur bone, a leopard on the loose, and plenty of gender bending mayhem among them. Bringing Up Baby's sophisticated dialogue, spontaneous performances, and giddy innuendo come together in a whirlwind of comic chaos captured with lightning-in-a-bottle brio by director HOWARD HAWKS (Red River). Special Features: New, restored 4K digital transfer, with uncompressed monaural soundtrack Audio commentary from 2005 featuring filmmaker Peter Bogdanovich New video essay on actor Cary Grant by author Scott Eyman New interview about cinematographer Russell Metty with cinematographer John Bailey New interview with film scholar Craig Barron on special-effects pioneer Linwood Dunn New selected-scene commentary about costume designer Howard Greer with costume historian Shelly Foote Howard Hawks: A Hell of a Good Life, a 1977 documentary by Hans-Christoph Blumenberg featuring the director's last filmed interview Audio interview from 1969 with Grant Audio excerpts from a 1972 conversation between Hawks and Bogdanovich Trailer English subtitles for the deaf and hard of hearing PLUS: An essay by critic Sheila O'Malley
When royal air force pilot Lt. Kate Sinclair (Charlotte Kirk) is shot down over Afghanistan, she finds refuge in an abandoned underground bunker where deadly man-made biological weapons - half human, half alien - are awakened. The Lair - from Neil Marshall, director of the critically acclaimed horror/thriller The Descent - is a fun, fast, and action-packed adventure... that you cannot afford to miss (Dread Central).
The 2000 Sydney Olympics DVD features official highlights of the games as well as a number of extra features. Includes a British Medal Review celebrating every one of our 28 medal-winning performances.
There are over 13 000 taxi drivers in London. And in order to become taxi drivers every single one of them (like every one of their predecessors for over 140 years) has to pass an exam called 'The Knowledge Of London'. Writer Jack Rosenthal's The Knowledge is the story of four men and their attempts to become cab drivers. In the process they acquire a different kind of knowledge: knowledge of themselves and of those closest to them of their strengths and weaknesses of what they wa
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