NOTICE: Polish Release, cover may contain Polish text/markings. The disk has English audio.
Season two of Star Trek: Picard takes the legendary Jean-Luc Picard and his crew on a bold and exciting new journey: into the past. Picard must enlist friends both old and new to confront the perils of 21st century Earth in a desperate race against time to save the galaxy's future - and face the ultimate trial from one of his greatest foes. Product Features Deleted and Extended Scenes The USS Stargazer The Chateau The Trial is Over Rebuilding the Borg Queen Picard Props Picard Passages Gag Reel
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
When a flight attendant wakes up in the wrong hotel, in the wrong bed, with a dead man and no idea what happened her entire life changes in one night. Starring Kaley Cuoco as Cassie Bowden, The Flight Attendant is a dark comedic thriller based on the novel by New York Times best-selling author Chris Bohjalian. Deleted Scenes The Flight Attendant Inside the Series-Inside the Series is a behind the scenes look at The Flight Attendant which is a story of how an entire life can change in one night. A flight attendant (Kaley Cuoco) wakes up in the wrong hotel, in the wrong bed, with a dead man and no idea what happened.
FBI agent Malcolm Turner goes undercover as Big Momma in this hit comedy sequel.
Tally Atwater (Michelle Pfeiffer) has a dream: to be a prime-time network newscaster. She pursues this dream with nothing but ambition raw talent and a homemade demo tape. Warren Justice (Robert Redford) is a brilliant hard edged veteran newsman. He sees Tally has talent and becomes her mentor. Tally’s career takes a meteoric rise and she and Warren fall in love. The romance that results is as intense and revealing as television news itself. Yet each breaking story ev
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
An offbeat comedy set in a hospital The Green Wing throws in a bit of soap opera and a dose of the sketch-show to create something unique and hilarious! Following the sordid revelations and cliffhanging drama of series 1 the staff of Green Wing Hospital have reached unfathomable levels of perversity! Caroline finds herself back to square one with Mac while Sue White prepares to dig her Scottish claws into his mane-like ginger 'do; Joanna Claw has to come to terms with the fact that she accidentally slept with her son; Martin tries his hand at pimping; and Dr Statham enters politics under the proviso that his manifesto will be grammatically correct! Created by the team behind Smack the Pony be prepared for one of the most surreal journeys you're ever likely to take as you dive into the anarchic world of Green Wing Hospital!
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
Steve Kloves' impressive highly entertaining directorial debut centres on the Baker Boys (played by real-life brothers Jeff and Beau Bridges) siblings who have a two-piano act that plays at Seattle's downbeat cocktail lounges. Jack (Jeff Bridges) is a bitter loner whose ambition is to be a jazz musician while Frank (Beau Bridges) is a family man content to spend his days giving piano lessons and playing pop tunes with his brother. Their act needs some new blood. Enter Susie Diamond (Michelle Pfeiffer) a tough cynical former hooker whose presence immediately revives the act. It also complicates matters when Jacks falls for her. Strong performances a great script wonderful music and Michelle Pfeiffer at her absolute sexiest.
Beth Cappadora (Michelle Pfeiffer) is at her high school reunion when her three-year-old son disappears from his brother's care. The little boy never turns up, and the family has to deal with the devastating guilt and grief that goes along with it. Nine years later, the family has relocated to Chicago. By a sheer fluke, the kid turns up, living no more than two blocks away. The authorities swoop down and return the kid to his biological parents, but things are far from being that simple. The boy grew up around what he has called his father, while his new family are strangers to him; the older son, now a teenager, has brushes with the law and behavioural problems. His adjustment to his lost brother is complicated by normal teenage churlishness, and the dad (Treat Williams) seems to expect everything to fall into place as though the family had been intact all along. It's a tightrope routine for actors in a story like this, being careful not to chew the scenery while at the same time not being too flaccid or understated. For the most part, the members of the cast deal well with the emotional complexity of their roles. Though the story stretches credulity, weirder things do happen in the real world. The family's pain for the first half of the film is certainly credible, though the second half almost seems like a different movie. Whoopi Goldberg plays the detective assigned to the case; casting her is a bit of a stretch, but she makes it work. All in all, a decent three-hanky movie in the vein of Ordinary People. --Jerry Renshaw, Amazon.com
Sex, Chips and Rock 'n' Roll spins a complex web of secret loves and twisted ambitions against the backdrop of the early British music scene. It's a rock n' roll soap opera, but it's smartly written and engagingly acted, full of subtle commentary on the cultural changes cutting across British society. Manchester in 1965 seems like a dead end to two sisters, flirty Arden (Emma Cooke) and bookish Ellie Brookes (Gillian Kearney). They ache to get out from under the thumb of their domineering grandmother (Sue Johnston), and when their cousin Norman (David Threlfall) proposes to Ellie, she accepts. But just then the sisters meet a struggling band called the Ice Cubes, who grudgingly play back-up for a smarmy singer named Larry B Cool (Phil Daniels) while trying to land a record deal. Arden throws herself at the group's leader, Dallas (Joseph McFadden), but Dallas finds himself drawn more to Ellie, who's also an aspiring songwriter. From there the multi-dimensional characters take unexpected turns, and you'll quickly find yourself drawn into their lives. --Bret Fetzer, Amazon.com
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
After a near-death car accident, Jamie Sommers is rebuilt using state-of-the-art technology. She is the ultimate weapon in the fight against crime. Stronger, better, faster...
Winner of Un Certain regard at Cannes A mother and father desperate to shelter their three children from the outside world create a self styled utopia inside the walls of their secluded compound. The three children have never ventured outside and spend their days being educated and entertained within the limits of a strict and suppressive system concocted by their father. So far removed are they from the real world they have their own vocabulary and believe cats to be dangerous wild man eating predators aeroplanes flying overhead to be toys and small yellow flowers to be zombies. When the father invites a trusted outsider into their home to service his son's sexual urges the domestic balance is disturbed and the protective bubble surrounding their lives soon implodes.
Available for the first time on DVD the BBC's massively successful primetime series: Goodnight Sweetheart. Starring Nicholas Lyndhurst Goodnight Sweetheart became an instant hit with TV viewers of all ages as it charts the life of Gary Sparrow a dealer in memorabilia and antiques of WW2 who has miraculously discovered a portal in time which allows him to travel between the present and wartime Britain. This handy little trick obviously adds to the success of his business but the co
The second season roars back into action with Ash leaving his beloved Jacksonville and returning to his home town of Elk Grove, Michigan. There, he confronts Ruby. The former enemies have to form an uneasy alliance as Elk Grove soon becomes the nucleus of evil.
Anyone doubting the layered, nuanced, and heartbreaking acting abilities of Michelle Williams will find My Week with Marilyn a tremendous revelation. And Williams fans will enjoy it even more. In My Week with Marilyn Williams takes on the formidable challenge of playing Marilyn Monroe, and does so with depth and assuredness, and without resorting to caricature. Williams's Marilyn commands the screen with pain and delicacy, and doesn't let go until the final credits. My Week with Marilyn focuses on a small time frame in Monroe's life, right after her marriage to Arthur Miller. Monroe, already "the world's most famous woman," still feels the need for validation as an actress. What better way to achieve that, she believes, than committing to costarring with Laurence Olivier in The Prince and the Showgirl, a film she firmly believed would finally cement her reputation as a serious actress. My Week with Marilyn is based on the short memoir of Colin Clark, a crew member on The Prince and the Showgirl, who quickly became the confidant of the wildly insecure Monroe and watched a train wreck of egos--mostly Olivier's and Monroe's--collide in a fiery near-disaster. Kenneth Branagh gives an uncharacteristically restrained performance as the exasperated Olivier, resentful of the "new blood" in Hollywood that the young Monroe represents, and disdainful of her cult-like devotion to Method acting. (And of Monroe's chronic tardiness, which threatens to undermine the veddy, veddy strict British work schedule.) Eddie Redmayne plays Clark with a sweet, gentle veneer, someone who grows to care genuinely about the complex Monroe. Julia Ormond is clipped and proper as Olivier's then-wife, Vivien Leigh, and Emma Watson shows a lovely gravitas as Lucy, Monroe's acting coach. But it's Williams who gives the revelatory performance, capturing with painful intensity the insecurity that begins to seep out of Monroe like a fearful sweat. "Excuse my horrible face," she blurts out, while looking nothing less than her usual radiant self. Where does this tragic insecurity come from? My Week with Marilyn doesn't attempt to answer the unanswerable, but instead shines a light on the very real woman who became lost in the giant shadow of legend. --A.T. Hurley
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