The writing-directing team of Charles Shyer and Nancy Meyers (Father of the Bride) made this sweet satire about a high-powered yuppie executive (Diane Keaton) who unexpectedly becomes a mom and finds she can't successfully integrate the role into her busy life. Typical of the Shyer-Meyers films prior to Myers taking the director's reins on the wonderful Parent Trap, Baby Boom is a little wooden and more sentimental than genuine. But there are entertaining moments, for sure, and Keaton is a delight. --Tom Keogh
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a longĀburied secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
Although Belgium's premiere sleuth Hercule Poirot (Kenneth Branagh) plans a spectacular Egyptian vacation aboard a glamorous river steamer, the trip turns into a terrifying search for a murderer after a picture-perfect couple's honeymoon is cut tragically short. Set against a sweeping landscape of pyramids and desert vistas, DEATH ON THE NILE features a stunning ensemble cast. Based on Agatha Christie's beloved novel, this tale of unbridled passion and jealousy is filled with wicked twists and turns that will have you guessing until the shocking finale. Product Features Death on the Nile: Novel to Film Agatha Christie: Travel Can Be Murder Design on the Nile Branagh/Poirot Deleted Scenes x 8 Official Trailer
Hattie Jacques finally got to the play the title role in 1972 when Carry On Matron immortalised the character she had developed during several previous outings, most notably in Carry On Doctor. And she seized it with gusto. This is no one-dimensional performance, but a very human portrait of a woman doing her best to retain her authority in the face of mounting chaos--a raid planned by Sid James to steal the hospital's supply of contraceptive pills. Certainly, she's obsessed with regular bowel movements--this wouldn't be a Carry On film otherwise--but she remains a majestic figure of dignity with a touch of human warmth. Occasionally, too, a real hint of irony peeks through the slapstick and the innuendo. Surely scriptwriter Talbot Rothwell had his tongue lodged firmly in his cheek when he gave Barbara Windsor--then married to Ronnie Knight--the line, "I don't fancy being a gangster's moll!" Terry Scott makes a guest appearance and Sid James is at his most conniving and lecherous. Theatre impresario Bill Kenwright has a cameo role and there's an early appearance from Wendy Richard as a prototype Pauline Fowler. But it's the female stalwarts who shine. Joan Sims and Hattie Jacques were truly comic actresses of the highest order. --Piers Ford
Samuel L. Jackson attempts to survive against hundreds of deadly snakes when they're released on a commercial airplane.
A New York hairstylist and a would-be musician, get caught up with the mob and are forced to deliver $50,000 to Australia, but things go haywire when the money is lost to a wild kangaroo!
Billy Connolly has made the transition from comedy to straight dramatic roles with a great deal more success than most. In The Debt Collector he plays Nicky Dryden, a violent debt collector who has served 18 grim years in prison, only to have found rehabilitation on the outside as a successful sculptor and respectability in marriage to Francesca Annis. However, Keltie (Ken Stott) the policeman who originally arrested him is disgusted at this ex-con's social elevation and undertakes an obsessive campaign of stalking and harassment, refusing to allow him to bury his past. It is Keltie, in a sense, who is the true debt collector of the title--he doesn't believe Dryden either has or ever can repay society. Furthermore, Dryden is idolised by a young thug (Iain Robertson) who bases his psychotic lifestyle on Dryden's past exploits. Stott and Connolly make excellent, craggy adversaries, with the frustrated, embittered ex-cop cutting a menacing, though at times pathetic character, while Connolly's Dryden knows that his past, violent side is capable of erupting at any time. This gloomily compelling drama has moments of sickeningly concussive impact as it winds its way down to its tragic conclusion. Annette Crosbie as Keltie's vulnerable yet curiously strong Mother, turns in a fine supporting performance. --David Stubbs
Based on the true story of Frank Abagnale Jr., the youngest man to ever feature on the FBI's Ten Most Wanted list who managed to pass himself off with several identities with an FBI agent hot on his trail.
A 1987 espionage thriller, The Whistle Blower stars Michael Caine as Frank Jones, a businessman and regular patriotic war veteran whose son Bob (Nigel Havers) is a Russian linguist who works at GCHQ. Bob begins to express doubts to his father about aspects of his work; days later, police report to Frank that his son has died in a fall. A verdict of accidental death is recorded. However, in the midst of his grief, Frank is puzzled by aspects of the death and decides to conduct his own investigation. In so doing he finds himself pitted against an utterly unscrupulous Secret Service prepared to stop at nothing, including murder, to cover up their operations. Set at the time when concerns about GCHQ were at their height and the Cold War had yet to thaw, many of the film's concerns seem, years subsequently, to be thankfully dated. Moreover, it's hard to believe that the bumbling British Secret Services would actually be capable of organising a convivial soiree in a brewery, let alone orchestrate the sort of skulduggery they perpetrate here. Still, with a cast that features all the usual British suspects (Sir John Gielgud, James Fox, Gordon Jackson) there's no doubting the pedigree of The Whistle Blower, which, despite its ostensibly uncomfortable message, actually makes for very agreeable comfort viewing. Michael Caine is especially fine as Michael Caine. --David Stubbs
Montana Badlands rancher David Braxton is a self-made man. Through years of tireless effort and determination he has transformed his vast and rugged land into a thriving prosperous empire. So when his livestock his fortune are threatened by a ruthless horse thief Braxton takes matters into his own hands. Hiring a sadistic 'regulator' to track down the outlaw Braxton intends to liberate the territory from crime but what he initiates instead is a complex series of events that re
One of the last decent Carry On movies, Carry On Abroad is a 1972 venture into the world of package holidays. After this, the series descended into unfunny coarseness as opposed to camply laboured double entendre, culminating in the dreadful Carry On Emanuelle. Here, publican Sid James and dutiful mother's son turned sex maniac Charles Hawtrey are among a brace of Brits heading for the "paradise island" of Elsbels. Kenneth Williams is the out-of-his-depth tour operator, reverting to the sort of effete types he played in the 1950s, Peter Butterworth a pre-Manuel-style manager of a half-built hotel. A series of disasters ensue, with the entire gang landing up in jail following a fracas in a brothel at one point, but everyone finds romantic and sexual fulfilment in a quaint disco finale. This includes a gay character who is "dissuaded" from his homosexuality in a typical example of the thoroughly reactionary subtext that constitutes the really naughty bit of most Carry On films. Nonetheless, this throwback to an imaginary time when the lewdest innuendo of a dirty old man was greeted by young females with a flirty "Ooh, saucy!" is enjoyable on condition that you enter into its seaside-postcard spirit. June Whitfield is fine as a sexually uptight wife, Kenneth Connor a model of red-faced frustration as her wimpish husband. On the DVD: Sadly, no extra features except scene selection. The picture is a 4:3 ratio full-screen presentation. --David Stubbs
From Armando Iannucci, the comic-genius behind The Thick of It and starring Tom Hollander, James Gandolfini, Peter Capaldi and Steve Coogan, comes a hilarious and biting satire on British-US relations and the lunacy of War.
Hattie Jacques finally got to the play the title role in 1972 when Carry On Matron immortalised the character she had developed during several previous outings, most notably in Carry On Doctor. And she seized it with gusto. This is no one-dimensional performance, but a very human portrait of a woman doing her best to retain her authority in the face of mounting chaos--a raid planned by Sid James to steal the hospital's supply of contraceptive pills. Certainly, she's obsessed with regular bowel movements--this wouldn't be a Carry On film otherwise--but she remains a majestic figure of dignity with a touch of human warmth. Occasionally, too, a real hint of irony peeks through the slapstick and the innuendo. Surely scriptwriter Talbot Rothwell had his tongue lodged firmly in his cheek when he gave Barbara Windsor--then married to Ronnie Knight--a the line, "I don't fancy being a gangster's moll!" Terry Scott makes a guest appearance and Sid James is at his most conniving and lecherous. Theatre impresario Bill Kenwright has a cameo role and there's an early appearance from Wendy Richard as a prototype Pauline Fowler. But it's the female stalwarts who shine. Joan Sims and Hattie Jacques truly were comic actresses of the highest order. On the DVD: Presented like most of the other Carry On DVD releases in 4:3 picture format and mono soundtrack, this release has all the comfy quality of a lazy Saturday afternoon in front of the television. But where are the extras? It's one thing to launch a highly popular series of films as classic entertainment, but they deserve more than the budget treatment. As always, a cast list, some sort of documentary extra and biographies of at least the key players would really do them justice. --Piers Ford
Ealing Studios comedy set in the Scottish isles. Hollywood's Paul Douglas plays Marshall, an American businessman who becomes involved with The Maggie, a rundown old shipping vessel captained by the taciturn skipper (Alex Mackenzie), when he is trying to find a way to convey his luggage to a remote island. It doesn't take Marshall long to realise that the skipper and his crew have pulled a fast one on him - but what can he do to stop them?
Carry On Don't Lose Your Head parodies the adventures of the Scarlet Pimpernel, with crinkly cackling Sid James as master of disguise the Black Fingernail and Jim Dale as his assistant Lord Darcy. He must rescue preposterously effete aristocrat Charles Hawtrey from the clutches of Kenneth Williams' fiendish Citizen Camembert and his sidekick Citizen Bidet (Peter Butterworth). The Black Fingernail is assisted in his efforts to thwart the birth of the burgeoning republic by the almost supernatural stupidity of his opponents, who fail to recognise the frankly undisguisable Sid James even when dressed as a flirty young woman. What with an executioner who is tricked into beheading himself in order to prove the efficacy of his own guillotine, it's all a little too easy. As usual, no groan-worthy pun is left unturned, or unheralded by the soundtrack strains of a long whistle or wah-wah trumpet. This is pretty silly stuff even by Carry On standards, with most of the cast barely required to come out of first gear and an overlong climactic swordfight sequence hardly raising the dramatic stakes. Most of the humour here resides neither in the script nor the characterisation but in the endlessly watchable Williams' whooping, nasal delivery (occasionally lapsing into broad Cockney) and the jowl movements of the always-underrated Butterworth. --David Stubbs
When their friend Cookie OD's best buddies and musicians Spoon (Tupac Shakur) and Stretch (Tim Roth) decide it's time to kick their drug habit by putting themselves into detox. But they soon discover that the road to rehab is paved with reams of social service red tape. Spoon and Stretch are just trying to stay alive until they can get treatment. But between the angry drug dealers the cops who have mistaken them for murderers and the people with forms and clipboards this turns into a task of epic proportions. Thus enfolds their comic adventure to sobriety.
No-one will be neutral about Plunkett and Macleane. Either you go with its notion of cheeky, stylish fun or you want to grab first-time director Jake Scott by the ear and slap him silly. Your inclination may depend on whether you recall his dad Ridley's own directing debut, The Duellists (1977), and savour the correspondences. Dad took a Joseph Conrad tale of the Napoleonic Wars, cast it with the ultra-contemporary Keith Carradine and Harvey Keitel, and filmed it with a swooping, mobile camera. Son Jake has made a feisty period piece about a pair of thieves (Robert Carlyle, Jonny Lee Miller) in 1748 London and filled it with blatant anachronisms. A decadent aristo (Alan Cumming), asked whether he "still swings both ways," replies, "I swing every way!" A ballroom full of revellers dances the minuet (or is it the gavotte?) while our ears--if not theirs--are filled with a trance ballad. And so forth. Is this sophomoric? Maybe. But it's also often fresh and inventive. Why shouldn't a filmmaker be allowed to speak directly to a contemporary consciousness, even flaunt it, as long as he also delivers startling imagery and convincing period detail? The solid cast includes Michael Gambon as a corrupt magistrate, Ken Stott as a very nasty enforcer named Mr Chance (who favours a thumb through the eye socket and into the brain as a mode of execution) and Terence Rigby as a philosophical jailer. Even Liv Tyler looks more interesting than usual. In the end pretty frivolous, Plunkett and Macleane is nonetheless a lively debut. --Richard T Jameson, Amazon.com
Tonight they're all out to get the Warriors. A battle of gigantic proportions is looming in the neon underground of New York City. The armies of the night number 100 000; they outnumber the police 5 to 1; and tonight they're after the Warriors - a street gang unfairly blamed for a rival gang leader's death. This contemporary action-adventure story takes place at night underground in the sub-culture of gang warfare that rages from the Bronx to Coney Island Bay as the Warrio
Biopic starring James Corden as 'Britain's Got Talent' winner Paul Potts. The film charts Potts' rise to fame, from his humble beginnings as a timid shop assistant to an internationally-renowned opera singer thanks to his success on the 2007 British talent show. Following a string of failed chances, dismissals from his idol Pavarotti and unforeseeable accidents, Paul's determination and talent enabled him to battle through against the odds and achieve his lifelong dream.
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