A Christmas Carol:Academy Award Winner George C. Scott gives a powerful performance as Ebenezer Scrooge in this truly heartwarming telling of Charles Dickens' beloved drama. At first, miserable, greedy old Scrooge can't tolerate the revelry of Christmas, much less comprehend its meaning. But visits from his former business partner's ghost and three cautionary specters from past, present and future force the man to soul-search. Grappling with his own losses, Scrooge recognises the repercussions of heartlessness in this classic, timeless story that also stars Susannah York and David Warner. The Sound of Music:The magical, heart-warming story, which has become the most popular family film of all time, tells the story of a spirited young woman, Maria (Julie Andrews), who leaves the convent to become governess to the seven children of the autocratic Captain von Trapp (Christopher Plummer). Miracle on 34th Street:In this new miracle based on the 1947 classic, a little girl discovers dreams can come true if you really believe. Six-year old Susan Walker has doubts about childhood's most enduring miracle - Santa Claus. Her mother told her the secret about Santa a long time ago, so Susan doesn't expect to receive the most important gifts on her Christmas list. But after meeting a special department store Santa who's convinced he's the real thing, Susan is given the most precious gift of all - something to believe in. This uplifting and joyous film will make believers out of the entire family! Chitty Chity Bang Bang:Ladies and gentlemen, boys and girls - start your engines. You're about to take an incredible ride with one of the most wonderful family films of all time! With its clever tunes (including the OSCAR-Nominated title song), marvellous cast and enchanting storyline, this delightful romp is lots of fun and simply toot sweet to pass up! Dick Van Dyke stars as eccentric inventor Caractacus Potts, who creates an extraordinary car called Chitty Chitty Bang Bang. It not only drives - but also flies and floats - as it leads him, his two children and his beautiful lady friend, Truly Scrumptious (Sally Ann Howes), into a magical world of pirates, castles and endless adventure.
Victoria Wood Live at the Albert Hall provides proof, if any were needed, that after two decades at the top of her profession, Wood is one of a small handful of British comedians of either sex capable of filling the country's largest venues. For the consistently high quality of her penetrating observations of the mundane she has no equal. Recorded in 2001, this performance has all the hallmarks of her microscopic examinations of life's perplexing minutiae and trivia. From her recent hysterectomy to Paul Daniels, from the NHS help line to wheelie bin covers, from Americans in Disneyworld to the ageism of catalogue mailing lists, nothing escapes Wood's attention. Not even in-vogue authors: she refuses to read "Captain Corelli's friggin' Mandolin" as it sits reproachfully at her bedside. Wood even provides her own interval act: a devastatingly accurate parody of a vulgar, second-rate cabaret singer shot to stardom on the wings of a cruise ship docu-soap. Jane McDonald's sense of humour will never face a harder test. More poignant are Wood's observations on parenthood and marriage, with all the physical ailments of middle age ("We've only got one fully operating leg between us"). She has since separated from her husband, the magician Geoffrey Durham. Fans will await the impact of that on her stand-up material with some interest. --Piers Ford
On the strength of his Hitchcockian-thriller debut, Mute Witness, writer-director Anthony Waller was hired to direct this belated sequel to the 1981 horror comedyAn American Werewolf in London but lycanthropy in the City of Light just ain't what it used to be. The movie offers plenty of gruesome make-up and special wolf-transformation effects and there are some effectively spooky moments in the plot involving an underground population of hungry Parisian werewolves. One of them is seductively played by Julie Delpy, who is rescued from attempted suicide by an American tourist (Tom Everett Scott, from That Thing You Do!) but ultimately can't hide her dual identity when darkness falls and the full moon shines. The movie begins well but gradually succumbs to nonsense and mayhem, prompting critic Roger Ebert to observe that "here are people we don't care about,doing things they don't understand, in a movie without anyrules". In other words, you'd have to be a die-hard horror buff to give this one the benefit of the doubt.--Jeff Shannon
Mary Poppins: Stuffy parents in Victorian London are looking for a nanny, but the children write their own ad which is torn up and thrown into the fire. Miraculously, the paper reassembles and floats up the chimney flue, and along comes Mary Poppins (Julie Andrews) on her umbrella/parachute. She brings fun and magic to the children's lives, as well as a guiding hand. The film won Oscars for Best Actress, Best Film Editing, Best Original Score, Best Song and Best Visual Effects. Mary Poppins Returns: In Depression-era London, a now-grown Jane and Michael Banks, along with Michael's three children, are visited by the enigmatic Mary Poppins following a personal loss. Through her unique magical skills, and with the aid of her friend Jack, she helps the family rediscover the joy and wonder missing in their lives Bonus Features: Mary Poppins: Mary-Oke Sing-Along with the movie Mary Poppins from page to stage Re-Trailer DVD Bonus: Disney's Song Selection Re-trailer DVD Bonus: Audio Commentary Step In Time A Magical Musical Reunion Featuring Julie Andrews, Dick Van Dyke And Richard Sherman Deleted Song: Chimpanzoo Supercalifragilisticexpialidocious: The Making Of Mary Poppins The Gala World Premiere The Cat That Looked At A King From Mary Poppins Opens The Door By P.L. Travers Movie Magic Deconstruction Of A Scene: Jolly Holliday Deconstruction Of A Scene: Step In Time Dick Van Dyke Make-Up Test Publicity (8 Trailers*) A Musical Journey With Richard Sherman The Gala World Premiere Party Becoming Mr. Sherman Mary Poppins Returns:Play Movie with Sing-Along Mode The Practically Perfect Making of Mary Poppins Returns Seeing Things from a Different Point of View : The Musical Numbers of Mary Poppins Returns Back to Cherry Tree Lane: Dick Van Dyke Returns Practically Perfect Bloopers Deleted Scene: Leaving Topsy's Deleted Scene: Trip A Little Light Fantastic Deleted Song - The Anthropomorphic Zoo
Since his arrival at Buckingham palace, Rex lives a life of luxury. Top dog, he has superseded his three fellow Corgis in Her Majesty's heart. His arrogance can be quite irritating. When he causes a diplomatic incident during an official dinner with the President of the United States, he falls into disgrace. Betrayed by one of his peers, Rex becomes a stray dog in the streets of London. How can he redeem himself? In love, he will find the resources to surpass himself in the face of great danger...
BROOKLYN is the story of a young woman, Eilis (Saoirse Ronan; Atonement) who moves from a small town in Ireland to Brooklyn, where, unlike home, she has the opportunity for work, a future - and love, in the form of Italian-American Tony (Emory Cohen; The Place Beyond The Pines). However, when Eilis returns temporarily to Ireland she finds herself absorbed into her old community, but now with eligible Jim (Domhnall Gleeson; About Time) courting her. As she repeatedly postpones her departure back to America, Eilis finds herself confronting a terrible dilemma - a heart-breaking choice between two countries and two futures. Special Features: Deleted Scenes Interviews Featurette
In Depression-era London, a now-grown Jane and Michael Banks, along with Michaels three children, are visited by the enigmatic Mary Poppins following a personal loss. Through her unique magical skills, and with the aid of her friend Jack, she helps the family rediscover the joy and wonder missing in their lives. Bonus Features 4K: Play Movie with Sing-Along Mode The Practically Perfect Making of Mary Poppins Returns "Seeing Things from a Different Point of View": The Musical Numbers of Mary Poppins Returns Back to Cherry Tree Lane: Dick Van Dyke Returns Practically Perfect Bloopers Deleted Scene: "Leaving Topsy's" Deleted Scene: "Trip A Little Light Fantastic" Deleted Song - "The Anthropomorphic Zoo
Collection of three classic James Dean films. In 'East of Eden' (1955) two brothers compete for the love of their stern, overbearing, widowed father. However, when Cal (Dean), the rejected 'rebel' son, discovers that his mother is not dead but running a nearby brothel he tells his brother Aron (Richard Davalos). This leads to the destruction of not only his relationship with Aron but also his father. 'Giant' (1956) is an epic saga which begins when Texas cattle baron Bick Benedict (Rock Hudson) takes a non-Texan wife, Leslie (Elizabeth Taylor). The story then traces two generations of his family, alongside the life of disreputable ranch-hand Jett Rink (Dean), who strikes it rich on an oil well and falls in love with Leslie. Director George Stevens won an Oscar for his work and the film garnered nine more nominations, including one for Dean, who was killed soon after filming. Finally, 'Rebel Without a Cause' (1955) takes place over a 24-hour period and follows Jim Stark (Dean), a restless teenager who is always in trouble with the law. When Jim is picked up for being drunk and disorderly he notices Judy (Natalie Wood) at the police station and determines to ask her on a date at high school the next day, which leads him into conflict with her boyfriend Buzz (Corey Allen).
The comedy This is the End follows six friends trapped in a house after a series of strange and catastrophic events devastate Los Angeles. As the world unravels outside dwindling supplies and cabin fever threaten to tear apart the friendships inside. Eventually they are forced to leave the house facing their fate and the true meaning of friendship and redemption.
Film comedy based on Michael Frayne's original screen play which follows the staging of a Broadway production in which everything that could go wrong does go wrong!
A brand-new restoration of I Am a Camera, a 1955 British comedy-drama film based on the 1945 book The Berlin Stories by Christopher Isherwood (also the inspiration for the hit stage and film sensation Cabaret) and the 1951 eponymous play by John Van Druten.The story is based on a fictionalized account of Isherwood's time living in Berlin between the World Wars. Directed by Henry Cornelius, from a script by John Collier, I Am a Camera stars Laurence Harvey as Isherwood and Julie Harris recreating her Tony Award-winning performance as Sally Bowles. Product Features Peter Parker on Christopher Isherwood Interview with journalist and film critic Anna Smith Stills galleryTrailer
Though most of the stars got back together for Airplane II: The Sequel, the Zucker-Abrahams-Zucker team passed the torch to new writer-director Ken Finkleman, who manages to reprise the style of the original quite well but is, as perhaps expected, more or less one-third as funny. The premise, alarmingly similar to the dead-straight contemporary Starflight One, is that the first commercial passenger shuttle to the moon has 2001-style computer hassles en route and finds itself headed straight through an asteroid belt into the sun. Cracked-up test pilot Robert Hays and promoted-from-stewardess technical expert Julie Hagerty have to save the day, despite panicking passengers, inept ground staff, complicated trauma flashbacks, deadpan one-liners and deliberately dodgy special effects. Leslie Nielsen is glimpsed only in footage from Airplane that sets up an extended slapping-the-hysterical-passenger gag redone (into the ground) here, but Lloyd Bridges and Stephen Stucker return as the overly-intense airport crisis controller and his happy-go-lucky gay sidekick. There are sterling cameos in the patented agonisingly serious mode from Raymond Burr (a judge), Chuck Connors (cigar-tossing fire chief), William Shatner (who gets the best sight gag) and Sonny Bono (impotent mad bomber). Back in the early 80s, it was still possible to do mild gags about paedophilia (not only Graves's chumminess with the cute kid who visits the cockpit, but also the priest looking at the centrefold of Altar Boy magazine) but aside from some incidental naked breasts, the humour is a touch cleaner than in the first film. Hays and Hagerty are better than the material, and it's all over swiftly enough--the film clocks in at 75 minutes before the slow, padded end credits--to avoid wearing out your patience. The end title promises an Airplane III, but we're still waiting. The 1.78:1 widescreen ratio of the DVD allows you to see gags in the corners of the frame that would be cropped in a full-screen transfer. --Kim Newman
"It's far too pleased with itself. I wince when I see it now", director John Schlesinger observes of his 1965 film, Darling. You can tell why he's embarrassed. Looking back, his swinging 60s' satire about a model (Julie Christie) so keen to get ahead that she ditches her husband and betrays a succession of boyfriends looks hideously dated. With its self-consciously hip dialogue and unnecessary voice-over, the screenplay by Frederic Raphael (who also wrote Kubrick's Eyes Wide Shut) doesn't help. Most of the men Christie encounters, whether Laurence Harvey's slick businessman (who can't pass a mirror without preening himself in it) or Dirk Bogarde's neurotic TV pundit (who has delusions of literary grandeur), are as narcissistic as she is. Although this seems to be a cautionary tale about slick, superficial London media and fashion folk, it's obvious that the filmmakers are half in love with the world they're pretending to lampoon. The visual gags--rich, society matrons at a charity event gorging themselves on food or Christie's poster being plastered over an image of a starving child--are heavy-handed in the extreme. Still, Christie is tremendous in the role which established her as an international star (she won an Oscar). However shallow and selfish her character seems, we can't help but warm to her. --Geoffrey Macnab
Frank Herbert's Dune is a three-part, four-and-a-half-hour television adaptation of the author's bestselling science fiction novel, telling a more complete version of the Dune saga than David Lynch's 1984 cinema film. The novel is a massive political space-opera so filled with characters, cultures, intrigues and battles that even a production twice this length would have trouble fitting everything in. While television is good at setting a scene, it loses the novel's capacity to explain how the future works, and as with Lynch's film, Frank Herbert's Dune focuses on Paul Atreides, the young noble betrayed who becomes a rebel leader--an archetypal story reworked everywhere from Star Wars (1977) to Gladiator (2000). Top-billed William Hurt is only in the first of the three 90-minute episodes, and while he gives a commanding performance, carrying the show falls to the less charismatic Alec Newman. This version is at its strongest in the ravishing Renaissance-inspired production and costume design and gorgeous lighting of Vittorio Storaro (The Last Emperor). The TV budget special effects range from awful painted backdrops to excellent CGI spaceships and sandworms. The performances are variable, from the theatrical camp of Ian McNeice as Baron Harkonnen to the subtlety of Julie Cox's Princess Iruelan. John Harrison's direction is less visionary than Lynch's, but he tells the story more coherently and ultimately the tale's the thing. --Gary S. Dalkin
An adaptation of Thomas Hardy's classic novel set in the 19th century of Bathsheba Everdene and the three very different men who come to love her...
The first series of Vera may have left the show a little bit of work to do, but this follow-up run of stories improves things with considerable skill. The basic premise remains similar. Vera follows the work of Detective Chief Inspector Vera Stanhope, a woman driven to solve crime, whilst battling a catalogue of problems of her own. So far, so conventional. Television is hardly short of detectives, after all. But Vera has a trump card, and her name is Brenda Blethyn. The Oscar-nominated actress gives a considered performance in the title role, and the lends the show the gravitas it needs to keep us hooked. Blethyn is front and centre for much of the four episodes collected together here, and it's a complex collection of cases she's presented with. For instance, she has to face the mysterious suicide of a former colleague, and the odd murder of a social worker, each of which comes with a labyrinthine backstory that Vera needs to get to grips with. There are still problems with Vera that this second series doesn't completely solve. Based once more on Ann Cleeves' novels, the wonderful Blethyn has proven to be a divisive choice amongst hardened fans of the books, and whilst her character is deepened here, more work on the writing and less reliance on the leading actress would serve the show well. That said, her adventures here are fleshed out, interesting, and intriguing to watch. And Vera continues, as it did in the second half of its maiden series, to improve. Well worth a look. --Jon Foster
In this hysterical satire of Reagan-era values, written and directed by ALBERT BROOKS (Modern Romance), a successful Los Angeles advertising executive (Brooks) and his wife (Airplane's JULIE HAGERTY) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road. When a stop in Las Vegas nearly derails their plans, they're forced to come to terms with their own limitations and those of the American dream. Brooks's barbed wit and confident direction drive Lost in America, a high point in the string of restless comedies about insecure characters searching for satisfaction in the modern world that established his unique comic voice and transformed the art of observational humour. Special Features: New 2K digital restoration, with uncompressed monaural soundtrack New conversation with director Albert Brooks and filmmaker Robert Weide New interviews with actor Julie Hagerty, executive producer Herb Nanas, and comic writer and director James L. Brooks Trailer PLUS: An essay by critic Scott Tobias
""Theorizing that one could time travel within his own lifetime Dr. Sam Beckett stepped into the Quantum Leap accelerator and Vanished...He woke to find himself trapped in the past facing mirror images that were not his own and driven by an unknown force to change history for the better. His only guide on this journey is Al an observer from his own time who appears in the form of a hologram that only Sam can see and hear. And so Dr. Beckett finds himself leaping from life to lif
A pioneering film within Animation, Musicals and Fantasy, Walt Disney's Mary Poppins is possibly one of the warmest and dearest films ever made. Based on a story by PL Travers we find Julie Andrews on fine form in her debut lead role (for which she would win the "Best Actress" Oscar). She is practically perfectly teamed with Dick Van Dyke as the lovable chimney sweep Burt, whose cockney accent is endearingly inaccurate. Along with a fine supporting cast, where even the child actors hold their own without appearing like stage school wannabes, Poppins and her crew take you on a magical ride through chalk pictures, the roof tops of London and show you that laughter is not always the best medicine (even with a spoon full of sugar) when you can't get down. In total Mary Poppins clocked up five Academy Awards including Best Song and Best Visual Effects and has made it into the staple diet of family viewing across the world. On the DVD: Mary Poppins has certainly cleaned up a treat, restoring her to 1.85:1 widescreen glory and 5.1 Dolby digital sound--which is guaranteed to be music to your ears. The special features are "supercalifragilisticexpialidocious" with the "Sing Along with the Movie" subtitles for all your favourite songs when they appear in the movie and the "I Love to Laugh" game offering Uncle Albert flying high in his parlour once more. "The Movie Magic of Mary Poppins" lets you look behind the scenes at how the magic was done and is fun, informative and easily understandable--pity the same cannot be said about the narrator. "Hollywood goes to a World Premiere" is a warm and amusing reminder about how premieres and stars used to be in 1964. The only disappointment is the lack of commentary--Dick Van Dyke would surely have offered a gem of a cockney voice-over! --Nikki Disney
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