We return to Fortitude in the aftermath of the horrific events which have changed the town forever. The wasp contamination has been eliminated, but the effects are still fresh and life isn't the same for the once close knit community. Dan is missing and is now presumed dead despite Eric's desperate attempts to find him, and Governor Odegard is desperately fighting to save her job and a town in disrepute. Out in the stunning wilderness, nature is growing ever more dangerous and Fortitude is faced with unpredictable new threats. The sky has turned red with a Blood Aurora, and a mysterious new stranger arrives at the isolated town with an unsettling agenda. When another murder brings terror the already fragile community, we soon realise that in Fortitude nothing, and no-one, is ever how they seem.
Two friends begin a simple uneventful drive to Florida to deliver a car. But the trip soon becomes a voyage to hell when they hit the backroads of a barren Texas county and meet up with a monstrous serial killer. Through all the gore it's really a comedy...
Jerry and Nick are two best buddies whose love lives have hit rock bottom. To escape their troubles and find women they book a trip on board a cruise-liner unaware the travel agent has just played a horrid trick-it's a gay cruise-liner for gay men to make out. And slowly but surely the dim-witted duo begin to realise this.
It's 1992 and the miners of Grimley Colliery are facing uncertainty. Not only is their pit under threat but the Grimley Colliery Band is on the verge of breaking up - that is until Gloria (Tara Fitzgerald) arrives. As the only female member of the band she somehow manages to rekindle their enthusiasm for the forthcoming National Championship as well as rekindling a childhood romance with Andy (Ewan McGregor).
From the director of Trainspotting and Slumdog Millionaire comes a masterpiece of terror. Starring Kerry Fox Christopher Eccleston and Ewan McGregor this hermetically sealed shocker will take you on a fantastic ride that's riddled with hairpin turns. Juliet David and Alex find that their new reclusive roommate has not left the bedroom for days. After kicking in the door they discover this drug overdosed corpse... and a suitcase full of cash. Fatefully choosing to keep the money they know they have to get rid of the body. But the remains won't stay buried and a careless trail from the shallow grave leads the police and two money-hungry thugs-back to the trio. As the stakes get higher so does the body count not to mention their paranoia which is quickly putting their friendship in jeopardy...forever!
Chris Tucker and Jackie Chan cause chaos in Paris in this, the third instalment of their comedy action franchise.
Bianca (Mae Whitman) is a content high school senior whose world is shattered when she learns the student body knows her as 'The DUFF' (Designated Ugly Fat Friend) to her prettier, more popular friends (Skyler Samuels & Bianca Santos).
This lushly produced fantasy has gained a loyal following since its release in 1985, and it gave a welcome boost to the careers of Matthew Broderick, Michelle Pfeiffer and Rutger Hauer. You have to ignore the overly aggressive music score by Andrew Powell, music director of the Alan Parsons Project (critic Pauline Kael aptly dubbed it "disco-medieval") and director Richard Donner's reckless allowance of anachronistic dialogue and uninspired storytelling, but there's a certain charm to the movie's combination of romance and heroism. Broderick plays a young thief who comes to the aid of tragic lovers Isabeau (Pfeiffer), who is cursed to become a hawk every day at sunrise and Navarre (Hauer) who turns into a wolf at sunset. The curse was cast by an evil sorcerer-bishop (John Wood), and as Broderick eludes the bishop's henchmen, Navarre struggles to conquer the villain, lift the curse and be reunited with his love in human form. The tragedy of this lovers' dilemma keeps the movie going, and Broderick is well cast as a young, medieval variation of Woody Allen. --Jeff Shannon
With a particularly gruesome body count fantastic twists and turns and everyone a suspect Messiah will not disappoint. Messiah 3 - The Promise: Red fights his own conscience as he tries to stop a killer turn a London hospital into a graveyard of pain. As he and his team battle to protect the innocent a grotesque twist of fate threatens to tear them apart. Messiah 4 - The Harrowing: Red's latest murder investigation is stifling and intense. The kille
Handsome young men whack each other in the face with sticks and learn about life in Youngblood, an enjoyably silly hockey movie. Rob Lowe stars as Dean Youngblood, an American rookie who's been given a shot on a Canadian Junior League hockey team. Sure, he can skate, but can he take a punch? This coming-of-age story is about learning the beauty of vicious hockey fights. No, really. Containing both young-bucks-in-the-locker-room shots and plenty of hockey violence, Youngblood is a surprisingly entertaining cupcake of a movie--there's not much nourishment, but it sure tastes good. Watch for Patrick Swayze as the team's leader and Keanu Reeves in his first film role as the French-Canadian goalie. --Ali Davis
The second most-watched mini-series (after Roots) of all time, The Thorn Birds was originally broadcast in 1983 and captivated viewers with its story of a lifelong conflict between the spirit and the flesh. Adapted from the bestselling novel by Colleen McCullough, the production stars Richard Chamberlain as a Catholic priest named Ralph de Bricassart, whose life in Australia between 1920 and 1962 is one long torment as he pines for his lover, Meggie Carson (Rachel Ward), while seeking advancement in his clergyman career. The passion and the guilt make for compelling drama, but a stellar cast of supporting players adds muscle to the proceedings: Barbara Stanwyck (who won an Emmy for her work as Meggie's tough grandmother), Jean Simmons, Richard Kiley, Christopher Plummer, Bryan Brown, and Mare Winningham. Chamberlain, who was something of the king of the miniseries form at the time, is very good in the lead, as is the often-underrated Ward. Their affair is indeed irresistible to watch, which proves to be true, too, of the story's thick weave of church politics, forbidden desire, social change over decades, and family secrets. --Tom Keogh
There's something inescapably appealing about Krull, a camp Star Wars-meets-The Lord of the Rings knock-off, that encourages the viewer to overlook it's very many silly shortcomings and simply enjoy the fun. James Horner's rollicking music score--written soon after his similarly memorable contribution to Star Trek II: The Wrath of Khan--certainly helps, as does the epic-scale CinemaScope photography of the breathtaking Italian landscapes. The costumes and extravagant production design are also great to look at, and much of Derek Meddings' visual effects work still looks striking if not exactly state-of-the-art. Of the cast, Freddie Jones stands head and shoulders above all others as the Obi Wan Kenobi-meets-Gandalf character Ynyr: his trip to the centre of the spider's web is both genuinely scary and genuinely touching. The two romantic leads, Ken Marshall as the Luke Skywalker-meets-King Arthur clone Prince Colwyn and Lysette Anthony (with an overdubbed American voice) as his Leia-Guinevere Princess Lyssa, are mere formalities on which to hang the plot. Ironic fun can be had with the all-British supporting cast, which includes Todd Carty of Eastenders fame and Carry On's Bernard Bresslaw, as well as Robbie Coltrane, Liam Neeson and the gorgeous Francesca Annis. On the DVD: Krull comes to DVD in an anamorphic widescreen print, preserving the luscious CinemaScope look of the theatrical release. The Dolby 5.1 sound lives up to the picture. There are two commentary tracks: on the first, director Peter Yates talks through the movie, with contributions from other crew members and leads Ken Marshall and Lysette Anthony. Oddly, the second audio track is just a reading of an article that originally appeared in the November 1982 issue of Cinefantastique magazine. There's also a half-hour "making-of" featurette originally produced to promote the movie at the time, the usual trailer, stills gallery and three talent profiles. --Mark Walker
To condemn Dressed to Kill as a Hitchcock rip-off is to miss the sheer enjoyment of Brian De Palma's delirious thriller. Homages to Hitchcock run rampant through most of De Palma's earlier films, and this one's chock-full of visual quotes, mostly cribbed from Vertigo and Psycho. But De Palma's indulgent depravity transcends simple mimicry to assume a vitality all its own. It's smothered in thickly atmospheric obsessions with sex, dread, paranoia, and voyeurism, not to mention a heavy dose of Psycho-like psychobabble about a wannabe transsexual who is compelled to slash up any attractive female who reminds him--the horror--that he's still very much a man. Angie Dickinson plays the sexually unsatisfied, forty-something wife who's the killer's first target, relaying her sexual fantasies to her psychiatrist (Michael Caine) before actually living one of them out after the film's celebrated cat-and-mouse sequence in a Manhattan art museum. The focus then switches to a murder witness (De Palma's then-girlfriend Nancy Allen) and Dickinson's grieving whiz-kid son (Keith Gordon), who attempt to solve the murder while staying one step ahead (or so they think) of the crude detective (Dennis Franz) assigned to the case. Propelled by Pino Donaggio's lush and stimulating score, De Palma's visuals provide seductive counterpoint to his brashly candid dialogue, and the plot conceals its own implausibility with morbid thrills and intoxicating suspense. If you're not laughing at De Palma's shameless audacity, you're sure to be on the edge of your seat. --Jeff Shannon, Amazon.com
The final feature produced, photographed, edited and directed by Russ Meyer is a wicked take on Our Town, co-written by Meyer and Pulitzer Prize winner Roger Ebert (BEYOND THE VALLEY OF THE DOLLS). Russ' latter-day muse Francesca Kitten' Natividad stars along with Uschi Digard, Ann Marie, June Mack, Candy Samples and Russ himself in this unwashed look at Small Town, U.S.A., complete with faith healers, war criminals, bosom buddies, and the loin-girding quest for sexual salvation. Because the original elements for BENEATH THE VALLEY OF THE ULTRA-VIXENS had been stored in less-than-optimal conditions, Severin Films devoted months to the painstaking restoration of its weather-damaged negative before scanning it in 4K and compiling 2+ hours of new and archival footage, all with the blessing and cooperation of The Russ Meyer Trust.
The two best horror baddies in a showdown to make you squirm. Freddy comes back from Hell as the notorious Jason takes on Elm Street in his own style.
The Man Who Shot Liberty Valance is a late film from the long career of director John Ford that tells of the civilising of an Old West town, Shinbone, through the sad memories of settlers looking back. Ford's nostalgia for the past is tempered by his stark approach, unusual for the visual poet of Stagecoach and The Searchers. The two heavyweights, John Wayne and James Stewart, are good together, with Wayne the embodiment of rugged individualism and Stewart the idealistic prophet of the civilisation that will eventually tame the Wild West. This may be the saddest Western ever made, closer to an elegy than an action movie, and as cleanly beautiful as its central symbol, the cactus rose. --Robert Horton
When Norwich City won the 1985 Milk Cup it was the Canaries' first Wembley triumph. Celebrating the 25th anniversary of that great achievement, manager Ken Brown and one of his Cup Final heroes Mark Barham re-live that special milestone in the club's history. Enjoy the highligts from an epic semi-final showdown against rivals Ipswich Town when Steve Bruce headed a late winner. Then savour the full 90 minutes from the Wembley triumph over Sunderland.
Intelligent casting, strong performances and the persuasive chemistry between Sean Connery and Michelle Pfeiffer prove the virtues in director Fred Schepisi's well-intended but problematic screen realization of this John Le Carré espionage thriller. At its best, The Russia House depicts the bittersweet nuances of the pivotal affair between a weary, alcoholic London publisher (Connery) and the mysterious Russian beauty (Pfeiffer) who sends him a fateful manuscript exposing the weaknesses beneath Soviet defence technology. Connery's Barley is a gritty, all-too-human figure who's palpably revived by his awakening feelings for Pfeiffer's wan, vulnerable Katya, whose own reciprocal emotions are equally convincing. Together, they weave a poignant romantic duet. The problems, meanwhile, emanate from the story line that brings these opposites together. Le Carré's novels are absorbing but typically internal odysseys that seldom offer the level of straightforward action or simple arcs of plot that the big screen thrives on. For The Russia House, written as glasnost eclipsed the cold war's overt rivalries, Le Carré means to measure how old adversaries must calibrate their battle to a more subtle, subdued match of wits. Barley himself becomes enmeshed in the mystery of the manuscript because British intelligence chooses to use him as cat's paw rather than become directly involved. Such subtlety may be a more realistic take on the spy games of the recent past but it makes for an often tedious, talky alternative to taut heroics that Connery codified in his most celebrated early espionage role. If the suspense thus suffers, we're still left with an affecting love story, as well as some convincing sniping between British and US intelligence operatives, beautifully cast with James Fox, Roy Scheider and John Mahoney. Veteran playwright Tom Stoppard brings considerable style to the dialogue, without solving the problem of giving us more than those verbal exchanges to sustain dramatic interest. --Sam Sutherland
From legendary cult filmmaker David DeCoteau (PUPPET MASTER III, SORORITY BABES IN THE SLIME BALL BOWL-O-RAMA) and producer Charles Band (RE-ANIMATOR) comes one of the most beloved B-horror/fantasy films of the 1980s: CREEPOZOIDS! Blending key elements of genre hits MAD MAX and ALIEN (while also incorporating elements of Band's PARASITE and METALSTORM), but produced on a tenth of their budgets, CREEPOZOIDS tells the tale of five Army deserters who wander the post-apocalyptic, post-industrial LA landscape seeking shelter from an increasingly toxic environment and poisonous rain. They end up in an abandoned laboratory where they explore, have sex, and eventually run afoul of a cavalcade of genetically engineered creatures including mutant rats, a monstrous baby, a massive, bloodthirsty H.R. Giger-esque beast-and something even more malevolent. Co-starring adult film superstar Ashlyn Gere - appearing here as Kim McKamy - and horror movie legend Linnea Quigley (RETURN OF THE LIVING DEAD, TROPHY HEADS), CREEPOZOIDS is a fun, weird and bloody trash classic that will make your flesh crawl right off its bones! SPECIAL FEATURES: ¢ Audio commentary with director David DeCoteau ¢ Stills gallery ¢ Reversible artwork
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