Leonardo DiCaprio gives an electrifying performance as the criminally rebellious son in this funny and stirring tale of one family's humor and heartache. Seventeen years ago fiercely independent Lee ((Meryl Streep) left home...and left behind her kindhearted sister Bessie (Diane Keaton) to care for their father Marvin (Hume Cronyn). But now Lee is returning with her teenage son (Leonard DiCaprio) for a homecoming that's sure to turn the entire household upside down! Also starring Robert DeNiro this entertaining motion picture proves that people you know the least may be the ones you need the most!
Based on the most successful racing video game franchise ever with over 140 million copies sold, DreamWorks Pictures' "Need for Speed" boasts fast cars, unique action and a top calibre cast in a classic tale of revenge and retribution.
Michael Douglas and Diane Keaton star in this comedy directed by Rob Reiner. Selfish, egocentric real estate agent Oren (Douglas)'s whole life changes when he gets an unexpected knock at the door: his estranged son arrives at the house with a daughter he knew nothing about, and he unassumingly takes on the role of granddad. Realising he has no idea how to take care of a child, he accepts the help of his caring neighbour Leah (Keaton). As Oren slowly learns how to love and care for another human being, his self-centred lifestyle begins to take a backseat.
Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalogue of Things that Make Life Worth Living. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more insoluble, terrifying problems about the universe". It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favourite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvellous kind of negative capability".) The film's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me", and "It's very important to have some kind of personal integrity". OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson
Upon its release The Godafther: Part II was hailed as the best sequel to a movie ever made however this film is much more than that. Coppolla utilised a quite brilliant screenplay and turned it into a visually captivating treat as well as using his directorial skills to make the audience view the rise and demise of the ill-fated Michael Corleone (Al Pacino) as first-person participants with masterful skill. Add to this an astounding performance by Pacino and an Oscar-winning portra
The incredible true story of how Ray Kroc (Academy Award nominee Michael Keaton, Spotlight, Birdman), a salesman from Illinois, met Mac (John Carroll Lynch, Jackie) and Dick McDonald (Nick Offerman, 22 Jump Street), who were running a burger operation in 1950s Southern California. So impressed by the brothers' 'speedy system' Kroc risked his marriage, bankruptcy and his reputation to create a billion-dollar empire that revolutionised the world. From director John Lee Hancock (Saving Mr. Banks, The Blind Side) and writer Robert D. Siegel (The Wrestler) comes a stunning and shocking portrayal of the man whose hunger for the American Dream ate away everything he knew.
What's a Yuppie ghost couple (Geena Davis and Alec Baldwin) to do when their quaint New England home is overrun by trendy New Yorkers? Hire a freelance bio-exorcist to spook the intruders, of course. As directed by Time Burton, Michael Keaton's Beetlejuice is one of the biggest, baddest wolves a ghost movie has ever unleashed, a polter-gas (The Village Voice). Special Features: Three hilarious episodes from the Animated Beetlejuice Series: Ah Ha!, Skeletons in the Closet, Spooky Boo- Tique Threatrical Trailer. Music track only.
SEASON ONE Prepare for the chill of a lifetime as the master of suspense, Rod Serling, hosts 17 episodes of terror in this classic series, featuring the original pilot movie and every spine-tingling episode from the complete First Season of Night Gallery. Be thrilled by stories adapted from short stories by such legendary writers as H.P.Lovecraft and Conrad Aiken. Featuring Hollywood greats including Diane Keaton, Joan Crawford and Roddy McDowall, and directed by cinematic masters like Steven Spielberg in this unforgettable series. SEASON TWO Prepare for the unexpected in Season Two of The Night Gallery! Containing all 67 stories from the series and created and hosted by the master of mystery : The Twilight Zone's Rod Serling. Featuring guest performances from a host of legends that reads like a Who's Who of Hollywood, you'll be sure to see sights to amaze! Featuring audio commentaries, behind the scenes featurettes and a gallery presentation of the paintings from the series, this collector's set is the classic anthology of timeless, spine- tingling entertainment you don't dare to miss! SEASON THREE Join the master of mystery Rod Serling as he invites you into the transfixing world of fantasy, horror and science fiction of the Night Gallery. In this complete Third and final season, Serling once again presents stories that still leave an undeniable chill, filled with restless spirits, murderous spouses and unidentified terrors that go bump in the night! Featuring a sensational roster of acting legends including Vincent Price, Mickey Rooney, Sally Field, Sandra Dee, Bill Bixby and Leonard Nimoy, you'll want to be there as the final portrait of suspense is hung in the Night Gallery.....Forever.
Titles Comprise: The Other Guys: Detective Allen Gamble (Will Ferrell) and Detective Terry Hoitz (Mark Wahlberg) are a joke at the police station. Can this down and out duo nerd and hot headed tough guy overcome a plethora of humorous obstacles accidents and misunderstandings to bust the bad guys in a high profile case and gain the respect of their peers? Talladega Nights: From the people who bought you Anchorman and The 40 Year Old Virgin comes this hilarious fast-paced comedy starring Will Ferrell as Ricky Bobby - one of the greatest drivers in NASCAR history. Ricky has everything a racing sensation and national hero could wish for: a luxurious mansion a smokin' hot wife (Leslie Bibb) and a loyal racing partner childhood friend Cal Naughton Jr. (John C. Reilly). But flamboyant French Formula One driver Jean Girard (Sacha Baron Cohen) is about to wreck Ricky's world and challenge for the supremacy of NASCAR. Now Ricky must face his demons and kick some serious asphalt if he's to get his career back on the track beat Girard and reclaim his fame and fortune. 'Cause as Ricky Bobby always says If You Ain't First Your Last!' Step Brothers: In Step Brothers Ferrell plays Brennan Huff a sporadically employed thirty-nine-year-old who lives with his mother Nancy (Mary Steenburgen). Reilly plays Dale Doback a terminally unemployed forty-year-old who lives with his father Robert (Richard Jenkins). When Robert and Nancy marry and move in together Brennan and Dale are forced to live with each other as step brothers. As their narcissism and downright aggressive laziness threaten to tear the family apart these two middle-aged immature overgrown boys will orchestrate an insane elaborate plan to bring their parents back together. To pull it off they must form an unlikely bond that maybe just maybe will finally get them out of the house.
In RoboCop the year is 2028 and multinational conglomerate OmniCorp is at the centre of robot technology. Overseas their drones have been used by the military for years – and it’s meant billions for OmniCorp’s bottom line. Now OmniCorp wants to bring their controversial technology to the home front and they see a golden opportunity to do it. When Alex Murphy (Joel Kinnaman) – a loving husband father and good cop doing his best to stem the tide of crime and corruption in Detroit – is critically injured in the line of duty OmniCorp sees their chance for a part-man part-robot police officer. OmniCorp envisions a RoboCop in every city and even more billions for their shareholders but they never counted on one thing: there is still a man inside the machine pursuing justice.
Celebrating the 30th Anniversary of The Godfather: Part III, director/screenwriter Francis Ford Coppola brings a definitive new edit and restoration of the final film in his epic Godfather trilogyMario Puzo's THE GODFATHER Coda: The Death of Michael Corleone. Michael Corleone (Al Pacino), now in his 60s, seeks to free his family from crime and find a suitable successor to his empire. That successor could be fiery Vincent (Andy Garcia)... but he may also be the spark that turns Michael's hope of business legitimacy into an inferno of mob violence. The film's meticulously restored picture and sound, under the supervision of American Zoetrope and Paramount Pictures, includes a new beginning and ending, as well as changes to scenes, shots, and music cues. The resulting project reflects author Mario Puzo and Coppola's original intentions of The Godfather: Part III, and delivers, in the words of Coppola,a more appropriate conclusion to The Godfather and The Godfather: Part II. Product Features Introduction From Francis Ford Coppola
Thanks to the ambitious vision of director Tim Burton, the blockbuster hit of 1989 delivers the goods despite an occasionally spotty script, giving the caped crusader a thorough overhaul in keeping with the crime fighter's evolution in DC Comics. Michael Keaton strikes just the right mood as the brooding "Dark Knight" of Gotham City; Kim Basingerplays Gotham's intrepid reporter Vicki Vale; and Jack Nicholson goes wild as the maniacal and scene-stealing Joker, who plots a take over of the city with his lethal Smilex gas. Triumphant Oscar-winning production design by the late Anton Furst turns Batman into a visual feast, and Burton brilliantly establishes a darkly mythic approach to Batman's legacy. Danny Elfman's now-classic score propels the action with bold, muscular verve. --Jeff Shannon
For Becky (Rachel McAdams, The Notebook), running a TV show in New York City was the big break she dreamed of… until star co-anchors Mike (Harrison Ford, Raiders of the Lost Ark) and Colleen (Diane Keaton, Something’s Gotta Give) declare an all-out, on-air war. Making the show work with its cast of eccentric characters and outrageous story angles will take a major miracle, but Becky is ready to rise and outshine. Special Features: Commentary by Director Roger Michell and Writer Aline Brosh McKenna Deleted Scenes: Shampoo Bottles (HD)
On the trail of a money laundering operation New York financier Martin Raikes flies to the south of France to investigate a film studio rumoured to be fronting the scam. But Raikes asks too many questions and soon finds himself drawn into a bloody turf war between the French underworld and the Russian Mafia. Lured to the studio's offices with the promise of inside information the American witnesses an assassination in the street below and with mounting horror realises the rendezvous is a set up and now he's wanted for murder. A lone fugitive from justice Raikes must stay one step ahead of the cops until he can prove his innocence. But when his daughter is kidnapped by the mob it's much more than just his freedom that's at stake...
Beetlejuice is back! After an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia's life is turned upside down when her rebellious teenage daughter, Astrid, discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it's only a matter of time until someone says Beetlejuice's name three times and the mischievous demon returns to unleash his very own brand of mayhem.
Jude Law and Diane Keaton star in this drama that was created and directed by Paolo Sorrentino (Youth, The Great Beauty) Lenny Belardo, aka Pius XIII, is the first American Pope in history. Young and charming, his election might seem the result of a simple and effective media strategy by the College of Cardinals. But, as we know, appearances can be deceptive. Especially in the place and among the people who have chosen the great mystery of God as the guiding light of their existence. That place is the Vatican and those people are the leaders of the Catholic Church. And the most mysterious and contradictory figure of all turns out to be Pius XIII himself. Shrewd and naïve, old-fashioned and very modern, doubtful and resolute, ironic, pedantic, hurt and ruthless, Pius XIII tries to walk the long path of human loneliness to find a God for mankind. And for himself.
Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk". Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is incontestable when he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater".The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson
Despite making many other distinguished films in his long, wandering career, Francis Ford Coppola will always be known as the man who directed The Godfather trilogy, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are an Italian-American Shakespearian cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce Reid, Amazon.com On the DVD: Contained in a tasteful slipcase, the three movies come individually packaged, with the second instalment spread across two discs. The anamorphic transfers are acceptable without being spectacular, with Part 3 looking best of all. Francis Ford Coppola--obviously a DVD fan--provides an exhaustive and enthusiastic commentary for all three movies, although awkwardly these have to be accessed from the Set Up menu. The fifth bonus disc is a real goldmine: the major feature is a 70-minute documentary covering all three productions, which includes fascinating early screen-test footage. There's also a 1971 making-of featurette about the first instalment, plus several shorter pieces with Coppola, Mario Puzo and others talking about specific aspects of the series, including a treasurable recording of composer Nino Rota performing the famous theme. Another section contains all the Oscar-acceptance speeches and Coppola's introduction to the TV edit, plus a whole raft of additional scenes that were inserted in the 1977 re-edited version. Text pieces include a chronology, a Corleone family tree and biographies of cast and crew. Overall, this is a handsome and valuable package that does justice to these wonderful movies. --Mark Walker
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