In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary. A year later the footage was found.
It's tempting to call the harrowing Stalingrad a World War II version of All Quiet on the Western Front, since both films take the perspective of ordinary German soldiers at ground level. Stalingrad surveys the misery of the battle of Stalingrad, the winter siege that cost the lives of almost one and a half million people--Russian defenders and German invaders alike. Not unlike Spielberg's approach to Saving Private Ryan, German director Joseph Vilsmaier rarely steps outside the action to comment on the higher purpose of the war, assuming the audience is aware of the evil of the Nazi regime. Instead, we simply follow a group of soldiers as they endure a series of gut-wrenching episodes, events that have the tang of authenticity and horror. Vilsmaier has a taste for symbolism and surreal touches, which only add to the unsettling sense of insanity this movie conjures up so well. --Robert Horton
Inspired by real events, Munich reveals the intense story of the secret Israeli squad assigned to track down and assassinate the 11 Palestinians believed to have planned the 1972 Munich massacre of 11 Israeli athletes and the personal toll this mission of revenge takes on the team and the man who led it. Hailed as tremendously exciting (Peter Travers, Rolling Stone), Steven Spielberg's explosive suspense thriller garnered five Academy Award® nominations*, including Best Picture and Best Director. Product Features Introduction by Steven Spielberg Munich: The Team, The Mission The On-Set Experience Portrait of an Era The International Cast Editing, Sound and Music Memories of the Event
The incredible untold true story of Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) & Mary Jackson (Janelle Monae)brilliant African-American women working at NASA, who served as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn into orbit. This stunning achievement galvanized the world and inspired generations to dream big.
Outrageous, absurdist, grotesque! Often hilarious, always stylish, and utterly unpredictable, the films of Spanish director Ãlex de la Iglesia are an exhilarating shock to the cinematic system. Produced by legendary provocateur Pedro Almodóvar, de la Iglesia's debut feature Acción Mutante is a violent sci-fi black comedy set in a post-apocalyptic world where attractive people hold all the power and a terrorist group, who see themselves as mutants, take arms to rid the world of their superficial oppressors. With his second feature, The Day of the Beast (El dÃa de la bestia) de la Iglesia delivered one of the greatest horror comedies of all time as a Catholic priest joins forces with a heavy metal fan, and the host of a popular occult TV show to kill the Antichrist on Christmas Eve. A critical and commercial success around the world, The Day of the Beast paved the way for gonzo action-crime-horror Perdita Durango, (aka Dance with the Devil) a Spanish-US-Mexican co-production based on a novel by Barry Gifford (author of Wild at Heart). Starring Rosie Perez (Do the Right Thing), a then little known Javier Bardem (No Country for Old Men) and James Gandolfini (The Sopranos), Perdita Durango is a twisted tale of love, guns, drugs, voodoo ceremonies, and refrigerated foetuses... Packed with a wealth of new and archival extras, Arrow Video welcomes you to the delirious, diabolical and demented world of Ãlex de la Iglesia. Not for the faint of heart! LIMITED EDITION BLU-RAY CONTENTS - High Definition (1080p) Blu-ray presentations of all three films - Original lossless Spanish stereo, 5.1 and Dolby Atmos audio options for Acción Mutante - Original lossless Spanish and English stereo 2.0, and Spanish 5.1 audio options for The Day of the Beast - Original lossless English stereo 2.0, and English and Spanish 5.1 audio options for Perdita Durango - Optional English subtitles for all three films - Double-sided fold-out posters for all three films - 9 postcard-sized reproduction art cards - Illustrated collector's booklet featuring new writing by film critics Kat Ellinger, Xavier Aldana Reyes and Valeria Villegas Lindvall - Limited Edition Deluxe packaging with reversible sleeves featuring original and newly commissioned artwork by Heather Vaughan DISC ONE: ACCIÃN MUTANTE - Brand new audio commentary by film scholars Xavier Aldana Reyes and Kat Ellinger - Archive audio commentary with director Ãlex de la Iglesia, writer Jorge GuerricaechevarrÃa, producer Esther GarcÃa, and production designers José Luis Arrizabalaga and Biaffra - Brand new appreciation of director Ãlex de la Iglesia by film scholar José Arroyo - Well-Done Baloney, an archive interview with director Ãlex de la Iglesia - Bad Blood Costumbrism, an archive interview with writer Jorge GuerricaechevarrÃa - The F*cking Boss, an archive interview with actor Antonio Resines - Some Crazy Sh*t, an archive interview with production designers José Luis Arrizabalaga and Biaffra - Litres of Blood... Wonderful!, an archive interview with special effects artist Raúl Romanillos - Archive interview with director Ãlex de la Iglesia - Vintage Making Of featurette - Behind the scenes - Storyboards - Music video - Theatrical trailer - Image gallery DISC TWO: THE DAY OF THE BEAST - Brand new audio commentary by film scholar Shelagh Rowan-Legg - Clean Up Madrid, a brand new visual essay by film scholar Alexandra Heller-Nicholas - Heirs of the Beast, an archive feature-length documentary - Antichrist Superstar, an archive interview with director Ãlex de la Iglesia - The Man Who Saved the World, an archive interview with actor Armando De Razza - Beauty and the Beast, an archive interview with actor Maria Grazia Cucinotta - Shooting the Beast, an archive interview with director of photography Flavio MartÃnez Labiano - Mirindas Asesinas, a 1990 short film by Ãlex de la Iglesia - Theatrical trailers - Image gallery DISC THREE: PERDITA DURANGO - Brand new audio commentary by film critic Valeria Villegas Lindvall - On the Border, an archive interview with director Ãlex de la Iglesia - Writing Perdita Durango, an archive interview with writer Barry Gifford - Dancing with the Devil, an archive appraisal by film scholar Dr Rebekah McKendry - Narcosatanicos: Perdita Durango and the Matamoros Cult, an archive interview with Abraham Castillo Flores and Cauldron of Blood author Jim Schutze - Canciones de Amor Maldito: The Music of Perdita Durango, an archive interview with composer Simon Boswell - Shooting Perdita Durango, an archive interview with director of photography Flavio MartÃnez Labiano - Theatrical trailers - Image gallery
In this new version of the classic tale A young man, falsely imprisoned by his jealous "friend," escapes from a terrible prison years later and uses a hidden treasure to exact his revenge.
1994 may have been the year of 'Pulp Fiction', 'The Lion King' and Jim Carrey's trailblazing run of 'Ace Ventura', 'The Mask' and 'Dumb and Dumber'. However elsewhere in the film world an alternative and equally influential film story was being told, in the form of Hungarian master Béla Tarr's 7+ hour behemoth Sátántangó. Tarr's epic rendering of Laszlo Karsnahorkai's novel, about the decline of Communism in Eastern Europe, is a unique and visionary masterpiece that defies classification and transcends genre. Set in a struggling Hungarian agricultural collective, a group of lost souls reeling from the collapse of their Communist utopia face an uncertain future, until the arrival of a charismatic stranger in whom they believe lies their salvation. The collective's individual experiences and fates are gradually revealed in Tarr's immaculately composed, brilliantly photographed and bleakly comic tour-de-force, which confirmed his place as one of contemporary cinema's few genuine auteurs.
The great Italian stage and screen director Franco Zeffirelli made these widely acclaimed films both starring Placido Domingo with Georges Pretre conducting the Orchestra and Chorus of La Scala. Pagliacci which co-stars the great singing actress Teresa Stratas brought Zeffirelli the coveted Emmy as Best Director in the category of Classical Music Programming. Cavalleria was filmed on location in Sicily which adds immeasurably to the power and atmosphere of this timeless story of love honour justice and violence.
In the opening scenes of Central Station, colourful crowds of Brazilians stream into and out of a Rio de Janeiro train, pushing through doors and windows. You're immediately pulled into the brutal vitality of a nation in motion, setting the tone for a picturesque road movie that charts Brazil's renaissance in a little boy's search for his father and an old woman's emotional reawakening. When we first meet Dora (Fernanda Montenegro), this frozen-hearted, sour-faced woman is the epitome of immobility: day after day, she sits in the train station selling her letter-writing skills to all comers, but often doesn't bother to mail these precious messages. When a woman who's paid Dora to write a pleading note to her son's long-missing dad gets run over by a bus, the child, Josue (Vinicius de Oliveira), is up for grabs. (The summary execution of a thieving street kid--seen in longshot--underscores the seriousness of this waif's plight.) After an abortive attempt to sell Josue for a new TV, the aspiring couch potato finds herself reluctantly propelled into an occasionally Fellini-esque odyssey through the hinterlands of Brazil's sertäo, where Dora and her sidekick find unexpected faith and family. Former documentary filmmaker Walter Salles (Foreign Land) mixes magic with realism in his appreciation of striking faces and places, but Central Station is primarily fuelled by the tough/tender performances of Montenegro, Brazil's Judi Dench, and de Oliveira, an airport shoeshine boy Salles cast over 1,500 other hopefuls. (Montenegro was nominated for a Best Actress Oscar, and Central Station was in the running for Best Foreign Language Film.) No cloyingly cute child-star, de Oliveira plays Josue as a bracingly idiosyncratic brat. And watching Dora's face and soul slowly, unwillingly unclench as she gets back in motion--and emotion--is potent pleasure, even if Salles' trip does dead-end in soap opera as his Brazilian pilgrim's progress winds down. --Kathleen Murphy, Amazon.com
A Greek saying states that only women who have washed their eyes with tears can see clearly.
Recent college grad Jaime Reyes returns home full of aspirations for his future, only to find that home is not quite as he left it. As he searches to find his purpose in the world, fate intervenes when Jaime unexpectedly finds himself in possession of an ancient relic of alien biotechnology: the Scarab. When the Scarab suddenly chooses Jaime to be its symbiotic host, he is bestowed with an incredible suit of armour capable of extraordinary and unpredictable powers, forever changing his destiny as he becomes the Super Hero Blue Beetle.
An expanded and more polished version of Lord of the Dance, Feet of Flames was recorded at an outdoor performance in London's Hyde Park. While much of the material is familiar to Flatley fans, the production is superior in every way. It's better photographed and the editing is less frenetic. The individual segments are sharper, more self-assured, as is Flatley, who also produced and directed this version. (He also demonstrates his talents as a flutist--maybe he should call himself Lord of the Renaissance.) The outdoor setting also makes the show feel less like a Vegas act, though the proceedings have about as much relation to their Celtic folk roots as the Broadway musical Cats has to the TS Eliot children's poems on which it was based. --Richard Natale
British ex-con Wilson (Terence Stamp) arrives in Los Angeles to investigate the mystery of his daughter's accidental death. His prime suspect, the wealthy, heavily guarded music promoter Terry Valentine (Peter Fonda), is no easy target. Propelled into an increasingly brutal search for truth, Wilson, with single-mindedness and terrifying precision, moves unstoppably toward revenge.
A modern-day musical about a busker and an immigrant and their eventful week, as they write, rehearse and record songs that tell their love story.
Ashley Judd plays a succesful lawyer shocked to find her husband as a secret past as a military operative. When he is committed of a terrible war crime she must defend him in a top secret military courtroom, where none of the rules she knows apply.
A movie that proved a fine swansong for Humphrey Bogart, The Harder They Fall is a gripping drama set against a background of fixed boxing matches. Not so much about the fights as the exploitation of the sport, the film is based on a novel by Budd Schulberg, whose Oscar-winning screenplay for On the Waterfront (1954) helped turn Rod Steiger into a star. Here Steiger delivers an equally bravura performance as the chillingly corrupt manager, Nick Benko, a man who will do anything to turn a buck. Bogart meanwhile is outstanding as unemployed sports writer Eddie Willis, hired against his better judgement to promote a no-hope Argentinean boxer, Toro Moreno (Mike Lane). Powerfully written, if built around the unlikely premise of building a 10th-rate fighter into a world-class contender, the drama is essentially a battle for Willis's soul as he is torn between money and conscience. Though the scenes with Bogart and Steiger facing off are the strongest and a veritable masterclass of hardboiled characterisation, Mark Robson, who also helmed the Kirk Douglas boxing classic Champion (1949), directs with a convincingly dirty realism, the final punishing and bloody match a clear influence on Scorsese's Raging Bull (1980). On the DVD: The Harder They Fall's anamorphic 1.77:1 transfer is excellent with only one brief scene showing any significant print damage. Burnett Guffey's noir-ish black-and-white cinematography looks sharp and fresh as the day it was shot, with only minimal grain. The mono sound is strong and clear, without a hint of distortion or compression. The only extra is a scored gallery of posters and lobby cards from other Bogart films available on Columbia. There are dubbed versions in French, German, Spanish and Italian, and a plethora of subtitle options. --Gary S Dalkin
Martin Scorsese's Silence tells the story of two Christian missionaries (Andrew Garfield and Adam Driver) who face the ultimate test of faith when they travel to Japan in search of their missing mentor (Liam Neeson)at a time when Christianity was outlawed and their presence forbidden. The celebrated director's 28-year journey to bring Shusaku Endo's 1966 acclaimed novel to life, examines the spiritual and religious question of God's silence in the face of human suffering.
A guilty pleasure if ever there was one, Black Rain is a ridiculously entertaining thriller by Ridley Scott (Alien), starring Michael Douglas as a tough New York cop who--along with his partner (Andy Garcia)--goes to Japan to deliver a local mobster. When the latter escapes, Douglas's brand of gonzo crime fighting rubs his Japanese hosts the wrong way. Slick, mechanistic, and absurd, the film is all surface action and attitude (not to mention Scott's incredibly busy, trademark art direction); and one can get lost in the sheer indulgence of it. However, if you can buy Douglas as an iconoclastic lawman, you can buy anything else here, including the notion of Kate Capshaw as a blonde escort highly desired by Japanese businessmen. -- Tom Keogh, Amazon.com
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