Bruce Willis (The Sixth Sense, Armageddon) and Samuel L. Jackson (Deep Blue Sea, Pulp Fiction) star in a mind-shattering, suspense-filled thriller that stays with you long after the end of this riveting supernatural film. When David Dunn (Willis) emerges from a horrific train crash as the sole survivor - and without a single scratch on him - he meets a mysterious stranger, Elijah Price (Jackson), who will change David's life forever. Interrupting his life at odd moments, it's Elijah's presenc...
Wacky Professor Philip Brainard (Robin Williams) has just invented a revolutionary new compound. Its green it flies and it looks like rubber. Its Flubber! And it has the ability to save his financially troubled college as well as his broken engagement to his girlfriend Sara. That is until the gooey substance is stolen right from under the nose of his beloved but jealous robot assistant Weebo! Now the professor's got to get the goo and the girl back where they belong. Mix one
After David Dunn (Bruce Willis) emerges from a horrific train crash as the sole survivor and without a single scratch on him he meets a mysterious, unsettling stranger (Samuel L. Jackson) who believes comic book heroes walk the earth, and whose sinister, single-minded obsession will impact David's life forever Special Features Deleted Scenes With M. Night Shyamalan Behind The Scenes, Featuring Bruce Willis Comic Books And Superheroes Exclusive Feature With Samuel L. Jackson The Train Station Sequence: Multi-Angle Feature Night's First Fight Sequence
An FBI deep-woods tracker captures a trained assassin who has made a sport of hunting humans.
For the NASA-funded research team stationed at the most desolate reaches of Antarctica it's another routine day - until the communications satellite picks up a mysterious signal coming from a strange object lodged several meters beneath the ice. Suspecting it may not be from Earth the lead scientist immediately places a call to Julian Rome (James Spader) an old friend formerly employed as a cryptologist for the U.S. government's SETI (Search for Extraterrestrial Intelligence) progr
M Night Shyamalan's breakout third feature, The Sixth Sense sets itself up as a thriller poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, forsaking excessive gore for a sinisterly simple feeling of chilly otherworldliness. Even if you figure out the film's surprise ending, it packs an amazingly emotional wallop when it comes, and will have you racing to watch the movie again with a new perspective. --Mark Englehart M Night Shyamalan reunites with Bruce Willis in Unbreakable for another story of everyday folk baffled by the supernatural (or at least unknown-to-science). This time around, Willis has paranormal, possibly superhuman abilities, and a superbly un-typecast Samuel L Jackson is the investigator who digs into someone else's strange life to prompt startling revelations about his own. Throughout, the film refers to comic-book imagery, while the lectures on artwork and symbolism feed back into the plot. The last act offers a terrific suspense-thriller scene, which (like the similar family-saving at the end of The Sixth Sense) is a self-contained sub-plot that slingshots a twist ending that may have been obvious all along. Some viewers may find the stately solemnity with which Shyamalan approaches a subject usually treated with colourful silliness off-putting, but Unbreakable wins points for not playing safe and proves that both Willis and Jackson, too often cast in lazy blockbusters, have the acting chops to enter the heart of darkness. --Kim Newman After tackling ghosts and superheroes, M Night Shyamalan brings his distinctive, oblique approach to aliens in Signs. With Mel Gibson replacing Bruce Willis as the traditional Shyamalan hero--a family man traumatised by loss--and leaving urban Philadelphia for the Pennsylvania sticks, the film starts with crop circles showing up on the property Gibson shares with his ex-ballplayer brother (Joaquin Phoenix) and his two troubled pre-teen kids. Though the world outside is undergoing a crisis of Independence Day-sized proportions, Shyamalan limits the focus to this family, who retreat into their cellar when "intruders" arrive from lights in the sky and set out to "harvest" them. The tone is less certain than the earlier films--some of the laughs seem unintentional and Gibson's performance isn't quite on a level with Willis's commitment--but Shyamalan still directs the suspense and shock dramas better than anyone else. --Kim Newman
When John Travolta first opens his mouth during the opening credits of The General's Daughter and speaks in a terrible Southern cracker drawl, one briefly hopes the movie will turn out to be just as hilariously bad. Unfortunately, the accent is soon revealed to be part of a disguise, and the movie is just as quickly unveiled as a clumsy, run-of-the-mill potboiler, too mediocre to be truly hysterical fun. A female officer is discovered strangled and tied to the ground; she's the title character, and because of the general's political ambitions, the mystery of who did it and why has to be wrapped up in 36 hours by Travolta and fellow CID officer Madeleine Stowe (Last of the Mohicans, 12 Monkeys). Sexual violence and lurid S&M have been thrown in to shore up the incomprehensible plot, but that only adds to the queasy atmosphere. The supporting actors--an impressive collection including James Woods (Salvador), Timothy Hutton (Ordinary People), and James Cromwell (Babe, L.A. Confidential)--don't embarrass themselves, but even they can't make sense of their blustering, macho dialogue. It's amazing that, screenwriter William Goldman (who wrote such great and genuinely thrilling films as Butch Cassidy and the Sundance Kid, Marathon Man, All the President's Men and Misery) left his name attached to this script; there's no sign of his usual skill and intelligence. Madeleine Stowe, a graceful presence in any film, is equally wasted. It was directed with a lot of empty flash by Simon West (Con Air). --Bret Fetzer, Amazon.com
In Unbreakable, writer-director M. Night Shyamalan reunites with Sixth Sense star Bruce Willis, comes up with another story of everyday folk baffled by the supernatural (or at least unknown-to-science) and returns to his home town, presenting Philadelphia as a wintry haunt of the bizarre yet transcendent. This time around, Willis (in earnest, agonised, frankly bald Twelve Monkeys mode) has the paranormal abilities, and a superbly un-typecast Samuel L. Jackson is the investigator who digs into someone else's strange life to prompt startling revelations about his own. David Dunn (Willis), an ex-jock security guard with a failing marriage (to Robin Wright Penn), is the stunned sole survivor of a train derailment. Approached by Elijah Price (Jackson), a dealer in comic book art who suffers from a rare brittle bone syndrome, Dunn comes to wonder whether Price's theory that he has superhuman abilities might not hold water. Dunn's young son Joseph (Spencer Treat Clark) encourages him to test his powers and the primal scene of Superman bouncing a bullet off his chest is rewritten as an amazing kitchen confrontation when Joseph pulls the family gun on Dad in a desperate attempt to convince him that he really is unbreakable (surely, "Invulnerable" would have been a more apt title). Half-convinced he is the real-world equivalent of a superhero, Dunn commences a never-ending battle against crime but learns a hard lesson about balancing forces in the universe. Throughout, the film refers to comic-book imagery--with Dunn's security guard slicker coming to look like a cape, and Price's gallery taking on elements of a Batcave-like lair--while the lectures on artwork and symbolism feed back into the plot. The last act offers a terrific suspense-thriller scene, which (like the similar family-saving at the end of The Sixth Sense) is a self-contained sub-plot that slingshots a twist ending that may have been obvious all along. Some viewers might find the stately solemnity with which Shyamalan approaches a subject usually treated with colourful silliness offputting, but Unbreakable wins points for not playing safe and proves that both Willis and Jackson, too often cast in lazy blockbusters, have the acting chops to enter the heart of darkness. --Kim Newman
In The Mirror Has Two Faces Barbra Streisand stars as Rose a lecturer in Romantic Literature with no romance of her own. Jeff Bridges longs for a platonic partner he can respect yet maintain a safe physical distance from. Set up by Rose's sister they meet and intellectual sparks fly and they soon find unexpected passion getting in their way in this delightfully sparkling comedy.
Barbra Streisand's self-absorbed remake of a 1958 French film stars Jeff Bridges as a college professor tired of sexual politics. He makes a deal with a dowdy colleague (Streisand) that they provide companionship for one another, with no thought of getting into bed. She agrees but soon becomes frustrated, the agreement only reinforcing her unfulfilled desire to have a complete relationship with a man. Mimi Rogers is on hand as Babs's striking sister, and Lauren Bacall received an Oscar nomination for her role as the heroine's selfish mother. The Mirror Has Two Faces is OK, but it becomes an irritating vanity piece for Streisand (who directed as well as stars). Her character constantly gazes upon her own reflection and is told at least a dozen times, one way or another, just how attractive she is. One wants to shout out, we get it already--you're pretty! --Tom Keogh
An FBI deep-woods tracker captures a trained assassin who has made a sport of hunting humans.
The ultimate hitman is about to meet his match. When clients need a flawless assassin to take out their high profile targets they call on a mysterious hitman know only as Banks. But deep in the heart of the desert this cunning killer is about to make the biggest mistake of his life. He's teaming up with a sexy hitchhiker who seems like the perfect accomplice...for the right price.
After half a million dollars is stolen from a small-town bank the get-away car is spotted by the police as the robbers make their escape. So begins a dangerous game of cat and mouse between robber and a small-town police officer determined to catch him.
Disney couldn't resist the temptation to remake 1961's popular comedy The Absent Minded Professor, so they cast Robin Williams as Professor Philip Brainard (a role vaguely related to the character originated by Fred MacMurray), and the result is a comedy that, frankly, doesn't fully deserve its modest success. It's admittedly clever to a point, and certainly the digitally flubberised special effects provide the kind of movie magic that's entertaining for children and adults alike. The professor can't even remember his own wedding day (much to the chagrin of his fiancée, played by Marcia Gay Harden), and now his academic rival (Christopher McDonald) is trying to steal his latest and purely accidental invention-flying rubber, or ... flubber. The green goo magnifies energy and can be used as an amazing source of power, but in the hands of screenwriter John Hughes it becomes just another excuse to recycle a lot of Home Alone-style slapstick humour involving a pair of bumbling would-be flubber thieves. There's also a floating robot named Weebo and some catchy music by Danny Elfman to accompany dancing globs of flubber, but the story's too thin to add up to anything special. Lightweight fun, but, given the title, it lacks a certain bounce. Of course, that didn't stop Disney's marketing wizards from turning it into a home video hit. --Jeff Shannon
They were more than mere Washington wives. They were part of the American dream known as Camelot. With strength and cunning they upheld their public image but concealing their private truths. They had no other choice. They were Kennedy women. For Joan wife of senatorial hopeful Ted Kennedy the nomination will thrust her into the spotlight. For the tenacious Ethel wife of future Attorney General Bobby Kennedy the political life is as vital to her as her own. And for John's en
It's a quiet little town where nothing happens - until the day the bank is hit for half a million dollars of Indian casino money by a thief wearing a clowns mask. From here the story follows a dangerous game of cat-and-mouse between bank robber and former cop Parker (James Spader) and small-town police officer Ray DeCarlo (David Keith) determined to catch him. Parker doesn't help himself by holing up with a nurse who happens to be DeCarlo's former wife. Throw in a rookie FBI agent, Indians wh...
They were more than mere Washington wives. They were part of the American dream known as Camelot. With strength and cunning they upheld their public image but concealing their private truths. They had no other choice. They were Kennedy women. For Joan wife of senatorial hopeful Ted Kennedy the nomination will thrust her into the spotlight. For the tenacious Ethel wife of future Attorney General Bobby Kennedy the political life is as vital to her as her own. And for John's enigmatic wife Jackie her husband's success means only one thing: that she must endure a deeply troubled marriage for the sake of a politicians's rise to power. This is the true story of the remarkable infamous Kennedy reign told through the eyes of the three women who lived it.
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