Librarians, Stuart Goodson (Emilio Estevez) and Myra (Jena Malone) see their regular winter day shaken up when a collection of homeless patrons decide to take shelter in their library overnight as temperatures outside drop to deadly levels of freezing. What starts as a peaceful sit-in quickly escalates into a full-on face-off, orchestrated on one side by city prosecutor and mayoral candidate, Josh Davis (Christian Slater) and on the other by increasingly impatient crisis negotiator, Bill Ramstead (Alec Baldwin), resulting in a growing media storm and what can only be described as a mini-miracle.
Cute but silly, this 1983 cautionary fantasy stars Matthew Broderick as a teenage computer genius who hacks into the Pentagon's defence system and sets World War III into motion. All the fun is in the film's set-up, as Broderick befriends Ally Sheedy and starts the international crisis by pretending while online to be the Soviet Union. After that, it's not hard to predict what's going to happen: government agents swoop in, but the story ends up in the "hands" of machines talking to one another. Thus we're stuck with flashing lights, etc. John Badham (Saturday Night Fever) directs in strict potboiler mode. Children still like this movie, though. --Tom Keogh, Amazon.com
Enjoying the dubious billing of being the Third Reich's "finest fictional moment", Münchhausen lives up to the hype. Commissioned by propaganda minister Joseph Goebbels to mark the 25th anniversary of the UFA film studio in 1943, director Josef von Baky was given every incentive artistic, technical and financial to create a state-of-the-art film outflanking Hollywood--and, in most respects, he succeeded. Hans Albers is understatedly right as the buccaneer aristocrat, his adventures over the centuries made possible by preternatural longevity. Hermann Speelmans gives sterling support as loyal manservant Kuchenreutter, while Brigitte Horney has appealing decadence as Catherine the Great. The spectacular Venice canal sequence and whimsical moon episode are balanced by strong scriptwriting from "Berthold Bürger" (Erich Kästner of Emil and the Detectives fame), with Georg Haentzschel's lushly eclectic score scarcely inferior to those by his more famous Hollywood counterparts. A tendency to send-up non-German nationalities hints at Nazi ideology, but otherwise this is pure--though never soulless--escapism, produced to the highest artistic standards. On the DVD: Münchhausen on disc is presented in a restored print which recaptures the original's breathtaking interplay of colour, and the soundtrack has been very adequately cleaned up. Just eight access points and subtitles in English only, but a photo gallery of over 100 stills and memorabilia to chart the course of the film in detail. R Dixon Smith's insightful documentary feature gives the lowdown on why the film was made. All the more remarkable, then, that it's survived the vicissitudes of its era so handsomely. --Richard Whitehouse
Available on DVD for the first time in one stunning box set three excellent adaptations of the work of Barbara Vine (Ruth Rendell). Featuring: A Dark Eye Adapted (1994): Based on the true story of Vera Hillyard one of the last women in Britain to hang for murder. A Dark Eye Adapted is a dark and brooding tale of a seemingly close-knit suburban family whose facade of normalcy hides the murderous sibling rivalry. Gallowglass (1993): A European aristocra
On the morning of his 30th birthday Josef K. (MacLachlan) wakes up to every person's worst nightmare when two strange men enter his home to place him under arrest. Bewildered by the reasoning of these two authorities he doesn't take the charges seriously and attempts to carry on his life as usual. When summoned to a hearing in an unfamiliar part of the city however K. refuses to accept the case being brought against him by the system. The more K. tries to fight the unnamed charge
A mesmerizing meditation on the mysterious nature of identity, Lost Highway, DAVID LYNCH's seventh feature film, is one of the filmmaker's most potent cinematic dreamscapes. Starring PATRICIA ARQUETTE and BILL PULLMAN, the film expands the horizons of the medium, taking its audience on a journey through the unknown and the unknowable. As this postmodern noir detours into the realm of science fiction, it becomes apparent that the only certainty is uncertainty. Product Features New 4K digital restoration, supervised and approved by director David Lynch, with new 5.1 surround DTS-HD Master Audio soundtrack Alternate uncompressed stereo soundtrack Pretty as a Picture: The Art of David Lynch, a feature-length 1997 documentary by Toby Keeler featuring Lynch and his collaborators Angelo Badalamenti, Peter Deming, Barry Gifford, Mary Sweeney, and others, along with on-set footage from Lost Highway Reading by Lynch and critic Kristine McKenna of excerpts from their 2018 book, Room to Dream Archival interviews with Lynch and actors Patricia Arquette, Bill Pullman, and Robert Loggia English subtitles for the deaf and hard of hearing PLUS: Excerpts from an interview with Lynch from the 2005 edition of filmmaker and writer Chris Rodley's book Lynch on Lynch
AMERICAN ASSASSIN follows the rise of Mitch Rapp (Dylan O'Brien), a CIA black ops recruit under the instruction of Cold War veteran Stan Hurley (Michael Keaton). The pair is then enlisted by CIA Deputy Director Irene Kennedy (Sanaa Lathan) to investigate a wave of apparently random attacks on both military and civilian targets. Together the three discover a pattern in the violence leading them to a joint mission with a lethal Turkish agent (Shiva Negar) to stop a mysterious operative (Taylor Kitsch) intent on starting a World War in the Middle East.
Woody Allen's gentlest and most unassuming movie, Radio Days isn't so much a story as a series of anecdotes loosely linked together by a voice-over spoken by the director. The film is strongly autobiographical in tone, presenting the memories of a young lad Joe (clearly a stand-in for Allen himself) growing up in a working-class Jewish family in the seafront Brooklyn suburb of Rockaway during the late 1930s and early 40s. In this pre-TV era the radio is ubiquitous, a constant accompaniment churning out quiz shows, soap operas, dance music, news flashes and Joe's favourite, the exploits of the Masked Avenger. Given Allen's well-publicised gallery of neuroses, you might expect childhood traumas. But no, everything here is rose-tinted and even the outbreak of war makes little impact on the easygoing, protective tenor of family life. Now and then Allen counterpoints his family album with the doings of the radio folk themselves (blink, and you'll miss a young William H Macy in the studio scene when the news of Pearl Harbour comes through). The rise to fame of Sally (Mia Farrow), a former night-club cigarette girl turned crooner, is the nearest the film comes to a coherent storyline. But most of the time Allen is content to coast on a flow of easy nostalgia, poking affectionate fun at the broadcasting conventions of the period and basking in the mildly rueful Jewish humour and small domestic crises of Joe's extended family. There aren't even any of his snappy one-liners, and the humour is kept low-key, raising at most an indulgent smile. A touch of Allen's usual acerbity wouldn't have come amiss. But for anyone who shares these memories, Radio Days will surely be a delight. On the DVD: Not much besides the theatrical trailer, scene menu and a choice of languages. The screen's the full original ratio, but nothing seems to have been done to enhance the soundtrack, and the dialogue's not always clear. A boost in volume may help.--Philip Kemp
Three short playlets are presented in this omnibus feature. ""The Verger"" focuses on a church verger who loses his position when it is discovered that he can neither read nor write. With the help of his sympathetic wife he becomes a successful tobacconist. In ""Mister Know-All "" an obnoxious garrulous passenger goes on a luxury cruise and becomes a hero simply by knowing when to shut up. The final story ""Sanitorium "" details a romance between two tuberculosis victims.
Following the success of Karel Reisz's Saturday Night and Sunday Morning Alan Sillitoe adapted another of his works for the screen this time a short story of a disillusioned teenager rebelling against the system making Tony Richardson's The Loneliness of the Long Distance Runner one of the great British films of the 1960s. Newcomer Tom Courtenay is compelling as the sullen defiant Colin refusing to follow his dying father into a factory job railing against the capitalist bosses and preferring to make a living from petty thieving. Arrested for burglary and sent to borstal Colin discovers a talent for cross-country running earning him special treatment from the governor (Michael Redgrave) and the chance to redeem himself from anti-social tearaway to sports day hero. With Colin a favourite to win against a local public school tensions build as the day approaches...
Enter a spectacular world of whimsy fun and fantasy in this acclaimed visual extravaganza. Leslie Zevo is a fun-loving adult who must save his late father's toy factory from his evil uncle a war-loving general who builds weapons disguised as toys. Aided by his sister and girlfriend Leslie sets out to thwart his uncle and restore joy and innocence to their special world.
Casting a fresh look on a timeless legend this exciting action-packed update of the DC Comics Superman captures the daring exploits of the mysterious visitor from another planet and brings the city of Metropolis to life. Originally airing on TV in the 1990s this humorously romantic action/adventure series puts a modern twist on the time-honored legendary superhero bringing to life the comic book characters Clark Kent (Dean Cain) his superhuman alter-ego Superman and Lois Lane (
This is a superb performance of excellent, long-forgotten music. Simplicius was lost for more than a century, but when it was recovered (including a few patches for missing parts), the Zurich Opera House welcomed it back with a production worthy of a historic event. Johann Strauss II, like most comic geniuses, had a lifelong wish to produce something deeply serious. Parts of Simplicius come close to that goal, but then a delectable tune in 3/4 time pops up and we are back in the realm of the waltz king, enjoying it all the more because of the contrast. In both styles, the music is wonderful and Franz Welser-Most conducts with exactly the right touch. The absurdist set designs of Johann Engels and the stage direction of David Pountney sometimes call Hieronymus Bosch to mind. This production puts detailed plot summaries on the screen during the overture and at other strategic point--a good idea because the plot is complicated and slightly absurd. It is set during the Thirty Years War and is full of hidden identities, unreasonable rules and sudden plot twists. Besides various tangled love pairings, and the idiocies of war, the plot centres on the figure of Simplicius, a holy simpleton like Candide or Parsifal, and his comic encounters with the realities of love and war. The story is full of colourful characters, all sung and acted with distinction. Michael Volle is a hermit who has raised his son Simplicius (Martin Zysset) in isolation from humanity until, at age 20, he is abducted by soldiers and comes into contact with reality. Other vivid performances are given by Rolf Haunstein as a rather absurd general, Elizabeth Magnuson as his silly daughter, Oliver Widmer as an astrologer, and Louise Martini as Schnappslotte, who sells liquor to the soldiers. Martina Jankova steals the show as her daughter Tilly, and Liliana Nikiteanu makes much of a small role as a Swedish spy. --Joe McLellan
During the Nazi occupation of Paris in the 1940's a group of men are dragged off the street by soldiers. The twenty nine Frenchman are all quite innocent but the Germans have ordered that one out of every ten men must be executed. One such man a French lawyer named Chavel trades his material possessions for his life with a dying man when condemned to the firing squad. At the end of the war Chavel posing as one of the other prisoners returns to his home which is now occupied by t
RATTLE OF A SIMPLE MAN (1964) directed by Muriel Box follows Percy Winthram (Harry H Corbett), a shy, naïve 39-year-old who is in London with his friends for the Cup Final. When he meets beautiful hostess Cyrenne (Diane Cilento) in a Soho strip club and accepts a bet, a night of lust seems to be on the cards, but back at her apartment Percy's innocence and vulnerability become all too evident. A bittersweet study of two characters from very different walks of life, the film is imbued with endearing and heartwarming humour and some stark home truths.Product FeaturesGame for Anything: Muriel Box & The Rattle of a Simple Man Interview with Hugh Futcher Behind the Scenes stills gallery Original Trailer
Seinfeld is widely regarded as one of the finest examples of American sitcoms, and this long-delayed box set goes a long way in demonstrating why. From the first episode of the first season, it hit the ground running with its collection of oddball New Yorkers: Theres stand-up comedian Jerry Seinfeld, who plays himself; Elaine (Julia Louis-Dreyfus), his pushy ex-girlfriend; his neurotic loser of a best friend George (Jason Alexander); and Jerrys wacky neighbour Kramer (Michael Richards). Co-written and co-created by Seinfeld and Larry David (who later went on to plumb greater depths of misanthropy with Curb Your Enthusiasm), it revolutionised American sitcoms with its cynical and mature comedy, and its ability to find comic gems in the most mundane situations (one classic episode is set entirely in a mall car-park). Seinfeld was, as all involved frequently admitted, a show about nothing. But this extras-laden collection--which features extensive cast and creator commentaries, deleted scenes, trivia tracks, outtakes, interviews and more--is most definitely something. --Ted Kord
They'll get you in the end! Ghoulies: When a student inherits an old mansion he finds he has also inherited its residents a bunch of slimy hairy fanged creatures who'll do anything for him....even kill. Ghoulies II: The Ghoulies are back in this sequel in which they take over a traveling carnival giving a park full of teenagers a night they'll never forget.
When Bryan Singer brought Marvel's X-Men to the big screen, Magneto and Professor X were elder statesmen, but Matthew Vaughn (Kick-Ass) travels back in time to present an origin story--and an alternate version of history. While Charles Xavier (Laurence Belcher) grows up privileged in New York, Erik Lehnsherr (Bill Milner) grows up underprivileged in Poland. As children, the mind-reading Charles finds a friend in the shape-shifting Raven (Jennifer Lawrence) and Erik finds an enemy in Sebastian Shaw (Kevin Bacon), an energy-absorbing Nazi scientist who treats the metal-bending lad like a lab rat. By 1962, Charles (James McAvoy) has become a swaggering genetics professor and Erik (Michael Fassbender, McAvoy's Band of Brothers costar) has become a brooding agent of revenge. CIA agent Moira (Rose Byrne) brings the two together to work for Division X. With the help of MIB (Oliver Platt) and Hank (A Single Man's Nicholas Hoult), they seek out other mutants, while fending off Shaw and Emma Frost (Mad Men's January Jones), who try to recruit them for more nefarious ends, leading to a showdown in Cuba between the United States and the Soviet Union, the good and bad mutants, and Charles and Erik, whose goals have begun to diverge. Throughout, Vaughn crisscrosses the globe, piles on the visual effects, and juices the action with a rousing score, but it's the actors who make the biggest impression as McAvoy and Fassbender prove themselves worthy successors to Patrick Stewart and Ian McKellen. The movie comes alive whenever they take centre stage, and dies a little when they don't. For the most part, though, Vaughn does right by playing up the James Bond parallels and acknowledging the debt to producer Bryan Singer through a couple of clever cameos. --Kathleen C. Fennessy
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