Season 1 of the toy murderin' attention span shatterin' stop-motion mayhem is packed with pop culture p*ss-takes including Zombie Idol and Jesus fighting his nemesis Kill Bill style. Guest starring Scarlett Johansson Sarah Michelle Gellar & Hulk Hogan
Contains all episdoes of the first four series of the ITV costume drama, following the lives and loves of those above and below stairs in an English stately home. This collection also includes the Christmas day episodes from 2011 & 2012.
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
The fifth season of Joss Whedon's hit series started out in excellent form as slayer extraordinaire Buffy Summers (Sarah Michelle Gellar) did battle with the most famous of vampires (that Dracula guy) and then went on to spar with another nemesis, little sister Dawn (Michelle Trachtenberg). Wait--Buffy has a teenage sister? Where has she been the past four years? And why is everyone acting like she's always been around? Turns out that young Dawn is actually "The Key," a form of pure energy that, true to its name, helps open the gates between different dimensions. To protect said key from falling into the wrong hands, a group of monks gave it human form and sent it to the fiercely protective Buffy for safekeeping, creating new memories of Dawn for everyone as if she'd existed... well, always. Why all the super secrecy? There's this very, very, very bad girl named Glory (Clare Kramer) who wants the key very badly, and will do anything to get it. Oh, and by the way, Glory isn't just a run-of-the-mill demon... she's way worse. Some fans will tell you that Buffy "jumped the shark" with the introduction of Dawn, when in actuality this season was the pinnacle of the show's achievement, as there was superb comedy to be had ("Buffy Vs. Dracula," the double-Xander episode "The Replacement," the introduction of the "Buffybot" in "Intervention") as well as some of television's best drama. The Whedon-scripted and -directed "The Body" remains one of Buffy's best episodes, when the young woman who faces down supernatural death on a daily basis finds herself powerless in the wake of her mother's sudden passing. The first third or so of the season was a bit choppy, but once the evil Glory came into her own, Buffy was a television force to be reckoned with. Kramer was the show's best villain (after the evil Angel, natch), and the supporting cast was never better. But as always, it was the superb Gellar who was the powerful centre of the show, sparking opposite lovelorn vampire Spike (James Marsters) and wrestling with moral dilemmas rarely seen on television. With this season, Buffy Summers became, like Tony Soprano, one of television's true greats. --Mark Englehart
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!
The latest big screen adventure of the Japanese cartoon characters finds them helping a friend to save the world!
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
From its charming and angst-ridden first season to the darker, apocalyptic final one, Buffy the Vampire Slayer succeeds on many levels, and in a fresher and more authentic way than the shows that came before or after it. How lucky, then, that with the release of its boxed set of seasons 1-7, you can have the estimable pleasure of watching a near-decade of Buffy in any order you choose. (And we have some ideas about how that should be done.) First: rest assured that there's no shame in coming to Buffy late, even if you initially turned your nose up at the winsome Sarah Michelle Gellar kicking the hell out of vampires (in Buffy-lingo, vamps), demons, and other evil-doers. Perhaps you did so because, well, it looked sort of science-fiction-like with all that monster latex. Start with season 3 and see that Buffy offers something for everyone, and the sooner you succumb to it, the quicker you'll appreciate how textured and riveting a drama it is. Why season 3? Because it offers you a winning cast of characters who have fallen from innocence: their hearts have been broken, their egos trampled in typically vicious high-school style, and as a result, they've begun to realise how fallible they are. As much as they try, there are always more monsters, or a bigger evil. Despite this, or perhaps because of it, the core crew remains something of a unit--there's the smart girl, Willow (Alyson Hannigan) who dreams of saving the day by downloading the plans to City Hall's sewer tunnels and mapping a route to safety. There are the ne'r do wells--the vampire Spike (James Marsters), who both clashes with and aspires to love Buffy; the tortured and torturing Angel (David Boreanz); the pretty, popular girl with an empty heart (Charisma Carpenter); and the teenage everyman, Xander (Nicholas Brendon). Then there's Buffy herself, who in the course of seven seasons morphs from a sarcastic teenager in a minidress to a heroine whose tragic flaw is an abiding desire to be a "normal" girl. On a lesser note, with the boxed set you can watch the fashion transformation of Buffy from mall rat to Prada-wearing, kickboxing diva with enviable highlights. (There was the unfortunate bob of season 2, but it's a forgivable lapse.) At least the storyline merits the transformations: every time Buffy has to end a relationship she cuts her hair, shedding both the pain and her vulnerability. In addition to the well-wrought teenage emotional landscape, Buffy deftly takes on more universal themes--power, politics, death, morality--as the series matures in seasons 4-6. And apart from a few missteps that haven't aged particularly well ("I Robot" in season 1 comes to mind), most episodes feel as harrowing and as richly drawn as they did at first viewing. That's about as much as you can ask for any form of entertainment: that it offer an escape from the viewer's workaday world and entry into one in which the heroine (ideally one with leather pants) overcomes demons far more troubling than one's own. --Megan Halverson
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
Having lost his intelligence job at the end of the Cold War former British secret agent Harry Palmer (Michael Caine) now travels East to find new outlets for his skills. Harry sets up a Private Investigation company in Russia and soon finds himself charged with rescuing his young assistant Nikolai's girlfriend Tatiana who has been kidnapped. The trail leads to St. Petersburg which Harry finds to be a city held in the iron grip of the violent Russian Mafia. The mafia does its best to stop Harry in his tracks but it may be easier said than done!
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
Season six of Buffy's exciting vampire vanquishing adventures. Episodes Comprise: 1. Bargaining - Part 1 2. Bargaining - Part 2 3. After Life 4. Flooded 5. Life Serial 6. All The Way 7. Once More With Feeling 8. Tabula Rasa 9. Smashed 10. Wrecked 11. Gone 12. Doublemeat Palace 13. Dead Things 14. Older And Far Away 15. As You Were 16. Hell's Bells 17. Normal Again 18. Entropy 19. Seeing Red 20. Villains 21. Two To Go 22. Grave
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...
Drama about birth of Coronation Street.
Bad Education – written by and starring Jack Whitehall – follows Alfie Wickers the worst teacher ever to (dis)grace the British Education system. SERIES ONE Abbey Grove School is populated by some of the weirdest teachers ever: Fraser (Mathew Horne) the hair-brained Headmaster Miss Gulliver (Sarah Solemani) the biology teacher with a heart of gold and Deputy Headmistress Miss Pickwell (Michelle Gomez) who displays all the charm and sensitivity of a Third Reich dominatrix. Alfie’s class have been written off by the rest of the school - but Alfie’s determined to take them under his wing. From disastrous parents’ evenings to cringe-worthy sex-education lessons from life-threatening self-defence classes to school elections full of dirty tricks... Bad Education is school life as you’ve never seen it before. SERIES TWO Alfie Wickers (Jack Whitehall) returns as the self-styled maverick of Abbey Grove attempting to teach his class something - anything - that requires zero effort. The staff room politics are tricky: Miss Gulliver (Sarah Solemani) is now seeing one of their female ex-students Miss Pickwell (Michelle Gomez) is giving President Putin a run for his money and Fraser (Mathew Horne) mistakenly gives all of the school’s funds to ‘The Nigerian Minister of Finance’. This term sees a furiously fought swimming gala a drugs awareness day that ends in Alfie’s utter humiliation and Fraser staging Abbey Grove’s own Take Me Out. SERIES THREE Exams are looming so it’s time for Alfie to actually start teaching his class but the path to A*s never did run smooth. Adding to Alfie’s stress levels is the appointment of his dad Martin Wickers (Harry Enfield) as the new deputy head and his increasingly disastrous love with his girlfriend Miss Gulliver (Sarah Solemani). Fraser (Mathew Horne) starts the summer term with a strike on his hands after badly investing the school’s money. Thrown into the mix is an evening of after school clubs a competitive sports day Alfie and his class sitting a Biology exam and the end of term Prom.
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