If Robert Zemeckis's mega-hit Forrest Gump was too sweet for your taste, you may enjoy the undiluted bitterness of his previous movie, a cynical black comedy that was ahead of its time. Death Becomes Her, an outlandish parable about America's obsession with youth and vanity, exposes the corrosive side of Zemeckis's comic sensibility, the sort of scathing satirical edge he gleefully flourished in his overlooked 1980 Used Cars, which has developed a cult following. Meryl Streep has a ball as the deliciously vicious Madeline Ashton, a flamboyantly mannered actress who makes Bette Davis's formidable Margo Channing in All About Eve look like a wallflower. Goldie Hawn is also in razor-sharp comedic form as Madeline's long-time "best friend," Helen. Sensing a bargain she just can't resist, Madeline steals Helen's meek, plastic-surgeon husband Ernest (Bruce Willis) for her own convenience, and the two women become sworn enemies. But the real complications arise when the two are introduced to a secret anti-aging formula by a mysterious and exotic woman (Isabella Rossellini, delightfully ridiculous) that not only smoothes away wrinkles but actually guarantees immortality. As their undying bodies are twisted and mutilated by violent attacks on each other, both women grow increasingly dependent on Ernest for cosmetic repair. The pioneering digital effects inflicted on Streep and Hawn are as grotesque as they are imaginative and hilarious. Like James Cameron (The Abyss, Titanic), Zemeckis loves a technical challenge, and the new visual tools developed for this movie made his later work (in Forrest Gump and Contact) possible. The digital video disc includes a short feature on the movie's production. --Jim Emerson, Amazon.com
Set in the rolling foothills of the Rockies the seventh season of HEARTLAND continues to follow life on the ranch as Amy Fleming (Amber Marshall) her older sister Lou (Michelle Morgan) and their grandfather Jack (Shaun Johnston) deal with the challenges of running the ranch that has been in their family for six generations. In Season Seven it first appears Tim (Chris Potter) is now in charge of the Heartland Ranch and he is making some decisions that are most contrary to what Jack would want including introducing sheep to the ranch. Amy and Ty (Graham Wardle) are happily engaged however with Ty going to veterinary school; it is not yet time for their wedding to take place. Amy gets back in the groove of working with horses again; landing a very important client and Georgie (Alisha Newton) has settled in and now feels a true part of the family. Over 90 minutes of Extras including : Deleted Scenes Cast Interviews Season Eight preview… And much more! Episode List: Episodes: Picking Up the Pieces Living the Moment Wrecking Ball The Penny Drops Thread the Needle Now or Never Best Man Hotshot There But For Fortune Darkness and Light Better Days Walking Tall Lost Highway Things We Lost Smoke ‘n’ Mirrors The Comeback Kid On the Line Be Careful What You Wish For
The runaway success of Bonnie and Clyde in 1967 proved massively influential: it made stars of Faye Dunaway and Warren Beatty, introduced a new form of violence to the movies, and inspired a stream of imitators, including Bloody Mama, Martin Scorsese's Boxcar Bertha and the directorial debut of John Milius, Dillinger. Milius presents John Dillinger as an almost mythical figure, tracing the rise and fall of the depression era's Public Enemy Number One as he takes on the banks and the G-men, led by the infamous Melvin Purvis. Starring Sam Peckinpah favourites Warren Oates and Ben Johnson as Dillinger and Purvis, and with a supporting cast including Harry Dean Stanton, Richard Dreyfuss and Michelle Phillips of the Mamas and the Papas, Dillinger is a top-drawer gangster picture: explosive, stylish and hugely entertaining. Special Features 2K restoration of the film from original film materials High Definition (1080p) Blu-ray presentation Original uncompressed PCM mono audio Optional English subtitles for the deaf and hard of hearing Audio commentary by Stephen Prince, author of Savage Cinema and Screening Violence Shooting Dillinger, an interview with director of photography Jules Brenner Original Gangster, an interview with producer Lawrence Gordon Ballads and Bullets, an interview with composer Barry De Vorzon Still gallery Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by Sean Phillips
Set against the stunning vistas of the Alberta Rocky Mountains, Heartland is a sprawling family drama that follows the Fleming sisters Amy (Amber Marshall) and Lou (Michelle Morgan) and their grandfather Jack (Shaun Johnston), through the highs and lows of life on a horse ranch. Ty realizes that in order to move forward with his life and his relationship with Amy, he has to make some tough decisions. Lou grapples with the realities of motherhood and the possibility of going back into the workforce when money becomes tight. Tim seeks out his long lost son to establish a relationship and must figure out a way to tell his daughters they have a brother. Jack will remain the rock of Heartland, gently (and sometimes not so gently) helping his family deal with the ups and downs they experience in their lives. Jack also takes some risks and learns to face his own fears.
In Season Six Amy and Ty continue as a couple but the weight of the 'almost-proposal' takes its toll with touching and humorous results until the midpoint of the season in a pair of episodes (609 and 610) that will enthral and delight fans of the series. Lou and Peter's new home turns into a renovation nightmare which results in a tragic and near fatal situation. Jack's European vacation did not work out as well as he leads Lisa to believe and a newcomer an 11-year-old runaway by the name of Georgie becomes a new fixture at the Heartland Ranch. Of course horses are always an important part of the episodes as Heartland is first and foremost a horse ranch. Heartland continues to be a multi-generational saga about a family getting through life together in both happy and trying times. The series tells real stories about real people people who the audience has grown to love and welcome into their homes. It takes a realistic edgy and humorous approach to its stories with a balance of comedy and drama adventure and romance all against the glorious backdrop and stunning vistas of the foothills of Alberta. Episodes Comprise: Running Against The Wind Crossed Signals Keeping Up Appearances The Natural Trial Run Helping Hands Life Is A Highway Do The Right Thing Great Expectations The Road Ahead Blowing Smoke Playing With Fire Waiting For Tomorrow Lost And Gone Forever After All We Have Been Through Born To Buck Breaking Point Under Pressure
Season 8 begins with Amy arriving back from the European Equestrian circuit, still riding high on the opulent lifestyle and adrenaline of working with Prince Ahmed's high-performance horses. But if she thought life at HEARTLAND was going to pick up where it left off, she is sorely mistaken. Amy's time away has changed her and everyone else back home. As the family struggles through secrets, rivalries and misunderstandings, Amy and Ty must find solid ground in their relationship. By the end of the season they have persevered and grown as a couple, moving forward into their future.
Upon arriving in exotic Rio long-time friends Matthew (Michael Caine) and Victor (Joseph Bologna) and their teenage daughters (Demi Moore and Michelle Johnson) barely unpack before this infamous pleasure spot begins to cast its torrid spell. Matthew quickly succumbs to Cupid's arrow but when guilt gets the better of this married man he vows to end the affair and keep it a secret... even from Vicor. But as his white lies grow so does his libido and Matthew continues his indiscreti
Filmed in the widescreen splendour of "Panavision Super 70" and blessed with the finest production values that Hollywood clout can buy, this tale of spunky Irish immigrants forgot one crucial ingredient: a decent screenplay. The film is entertaining enough, and director Ron Howard brings his technical proficiency to the simple plot, culminating in a dynamic, breathtaking depiction of the Oklahoma land rush of 1893. But the movie is really just a vacuous vehicle for married stars Tom Cruise and Nicole Kidman as (respectively) the poor tenant farmer and rich landlord's daughter who flee Ireland to be American pioneers. The scenery and the stars are never less than stunning, but Howard falls short of the mark in his attempt to match the epic sweep of films by David Lean. On the other hand, this movie is certainly never boring even if it rarely makes sense, and Lean's own Irish epic, Ryan's Daughter, is a snoozer by comparison. --Jeff Shannon, Amazon.com
In Waxwork a waxwork museum appears overnight in an American small town and sinister showman David Warner invites a group of typical teens to a midnight party. However, as expected, the place is home to nasty secrets, and the blundering kids find themselves transported via the exhibits into the presence of "the 18 most evil men in history". What this means is that the film gets to trot out gory vignettes featuring such horror staples as Count Dracula (played inaptly with designer stubble and a Clint croak by ex-Tarzan Miles O'Keefe), the Marquis de Sade, an anonymous werewolf with floppy bunny ears (John Rhys-Davies in human form) and the Mummy. Nerdy hero Zach Galligan appeals to wheelchair-bound monster fighter Patrick MacNee for help. Waxwork is strictly a film buff's movie--with Warner and MacNee turning in knowingly camp performances, and references to everything from Crimes of Passion to Little Shop of Horrors cluttering up its very straggly story line. It's not without ragged charms, though the tone veers between comic and sick (the de Sade scene, although inexplicit, features some lurid dialogue) more or less at random. The effects are likewise variable, and in any case rather fudged by direction, which frequently fails to point up the gags properly. It winds up with a scrappy Blazing Saddles-style fight between the forces of Good and a whole pack of monsters, and the budget runs out before the climactic burning-down-the-waxworks scene. The episodic approach echoes the old Amicus omnibus horrors (Dr Terror's House of Horrors, The House that Dripped Blood etc.), and various cameos allow director Anthony Hickox to parody/emulate the styles of Hammer films, Night of the Living Dead and Roger Corman's Edgar Allan Poe adaptations. On the DVD: It's a nice-looking and sounding print, but fullscreen format. The only extras are filmographies taken from the IMDB and the trailer.--Kim Newman
Steven Seagal needed a new approach to his standard head-busting heroics, so he teamed up with Keenen Ivory Wayans for this routine 1996 action flick. This time stone-faced Steve plays Los Angeles homicide detective Jack Cole, newly transplanted from New York and teamed up with Jim Campbell (Wayans). They're assigned to track down "The Family Man," a serial killer who earned his nickname by crucifying entire families and leaving religious graffiti as his calling card. The case heats up when the latest victim turns out to be Cole's ex-wife, and Cole is considered a primary suspect. That makes Seagal get really mad--you don't want to get Seagal too upset, y'know--but he still has time to quote Buddhist wisdom and crack wise with Wayans, who plays it relatively straight as the practical half of this partnership. Glimmer Man is typical Seagal stuff all the way, with obligatory fight scenes every 10 minutes or so, but Seagal fans will enjoy it and Brian Cox makes a suitably hissable villain. --Jeff Shannon
Stop On By And Give Afterlife A Try. Zach Galligan (Gremlins) teams up with special effects wizard Bob Keen (Alien Highlander) to star in this spine-tingling horror. Mark and his college class decide to have a little fun and attend a 'private' midnight showing at the new waxwork museum. Admission is free... but getting out may cost them their lives! Join them in this roller-coaster ride into terror in Waxwork.
Tom Stoppard pens this Academy Award-nominated adaptation of Tolstoy's classic story of doomed love, directed by Joe Wright and boasting a star-studded British cast headed by Kiera Knightley and Jude Law. Trapped in a loveless marriage and the ongoing fallout of a family crisis, Anna (Knightley) falls uncontrollably in love with charming and affluent bachelor Count Vronsky (Aaron Johnson). But as Anna falters to make a decision about leaving her husband, government official Karenin (Law), Vronsky continues to pursue his social life, leading Anna into a growing paranoia about his infidelities that eventually leads to tragic consequences.
A group of pretty girls get ready for a fun party. Then an escapee from a local mental institution decides that he'd like to do a little partying himself. He's a killer with a thirst for blood and a style all of his own...
The complete fifth series of Homicide: Life On The Streets.
Filmed in the widescreen splendour of "Panavision Super 70" and blessed with the finest production values that Hollywood clout can buy, this tale of spunky Irish immigrants forgot one crucial ingredient: a decent screenplay. The film is entertaining enough, and director Ron Howard brings his technical proficiency to the simple plot, culminating in a dynamic, breathtaking depiction of the Oklahoma land rush of 1893. But the movie is really just a vacuous vehicle for married stars Tom Cruise and Nicole Kidman as (respectively) the poor tenant farmer and rich landlord's daughter who flee Ireland to be American pioneers. The scenery and the stars are never less than stunning, but Howard falls short of the mark in his attempt to match the epic sweep of films by David Lean. On the other hand, this movie is certainly never boring even if it rarely makes sense, and Lean's own Irish epic, Ryan's Daughter, is a snoozer by comparison. --Jeff Shannon, Amazon.com
Far And Away (Dir. Ron Howard 1992): Tom Cruise and Nicole Kidman star in this critically acclaimed romantic adventure from director Ron Howard. This breathtaking epic opens on the West Coast of Ireland 1892. Joseph Donelly (Cruise) a poor tenant farmer is determined to bring justice to an oppressive landlord. Instead he finds himself accompanying the landlord's daughter Shannon (Kidman) to America in a quest for land. Arriving in Boston Joseph finds a place for them to live while proving a natural at bare-fisted boxing. But his triumph is short-lived as he and Shannon are thrown out into the bitter cold. Joseph sets off for work on the railroad until a passing wagon train reminds him of his original goal to possess his own land. Preparing to stake his claim in the new territory he runs into Shannon who is unhappily reunited with her former fiance. In the excitement of the Oklahoma land rush they realise their dreams of land and life together. Steel Magnolias (Dir. Herbert Ross 1989): A beautiful bittersweet comedy set in deep south Louisiana Steel Magnolias unites talents of America's finest actresses as six very special friends bonded together by mutual triumphs and tragedies. Despite their differences beautiful Shelby (Julia Roberts) her strong-willed mother M'Lynn (Sally Field) beauty parlour owner Truvy (Dolly Parton) elegant wealthy widow Clairee (Olympia Dukakis) sharp tongued Ouiser (Shirley MacLaine) and mousey newcomer Anelle (Daryl Hannah) enjoy a friendship that spans the boundaries of age and status. Sharing each other's strength and loyalty they face their greatest fears and highest hopes with dry wit and a self-deprecating style... Stepmom (Dir. Chris Columbus 1998): Jackie (Susan Sarandon) is a divorced mother of two. Isabel (Julia Roberts) is the career minded girlfriend of Jackie's ex-husband Luke (Ed Harris) forced into the role of unwelcome stepmother to their children. It is the universal dilemma of the 'non-traditional family' they all love the children but the complex interplay between parents step-parents step-children ex-spouses and significant others is decidedly tricky. But when Jackie discovers she is ill both women realise they must put aside their differences to find a common ground and celebrate life to the fullest while they have the chance.
A photographer finds himself framed when his photographs develop into evidence against him.
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