Six reasons why the west was wild. The year is 1878 Lincoln County. John Tunstall a British ranch owner hires six rebellious boys as ""regulators"" to protect his ranch against the ruthless Santa Fe Ring. When Tunstall is killed in an ambush the Regulators led by the wild-tempered Billy the Kid declare war on the Ring. As their vendetta turns into a bloody rampage they are branded outlaws becoming the targets of the largest manhunt in Western history.
The plane crashes (boy, does it crash) in the remote Alaskan nowhere, and the rough-and-tumble oil wildcatters who survive must fight their way to safety. That in itself might be enough from which The Grey could fashion a suspenseful thrill-ride, but the movie has one more ace up its sleeve. Wolves! A pack of them, starving and considerably irritated that these outsiders have blundered into their territory. And while it is true that most real-world wolves are hardly man-eaters, director Joe Carnahan and cowriter Ian Mackenzie Jeffers are really not all that interested in reality. Despite some hair-raising moments and a healthy spattering of gore, The Grey is an existential action picture, and the wolves function only as all-purpose predator (being computer-generated, they never really look real anyway). What's really at stake are the souls of these men--how they get along together, and how they face death. Yes, there is always something faintly absurd hanging around this movie; it's like a Jack London story adapted by Luc Besson. But out of its pulpy mash, Carnahan extracts something gutsy. It certainly helps that he's got the mighty Liam Neeson on board as the most capable of the survivors; Neeson exudes the kind of authority that the average action hero can only play-act. Dallas Roberts and Dermot Mulroney add colour, and Frank Grillo jumps off the screen as the most belligerent of the desperate crew. It's possible for a movie to have an absurd premise yet carve something unexpectedly philosophical out of that: The Incredible Shrinking Man and Rise of the Planet of the Apes come to mind. Add this one to that oddball list. --Robert Horton
OSCAR® Winner Kate Winslet and Golden Globe winner Idris Elba star in this suspense drama about two strangers who become stranded on a remote, snow-covered mountain following a plane crash. Forced to trust each other to survive the extreme elements, they begin a perilous journey through hundreds of miles of wilderness, each discovering a strength they never knew possible.
Will & Grace's Debra Messing hires a male escort to help her face her ex-boyfriend in this romantic comedy.
The Stone family unite when their favourite son brings his uptight girlfriend home for the Christmas holiday.
The year is 1878 Lincoln County. John Tunstall a British ranch owner hires six rebellious boys as regulators to protect his ranch against the ruthless Santa Fe Ring. When Tunstall is killed in an ambush the Regulators led by the wild-tempered Billy the Kid declare war on the Ring. As their vendetta turns into a bloody rampage they are branded outlaws becoming the targets of the largest manhunt in Western history.
One of the best romantic comedies of the 1990s, My Best Friend's Wedding not only gave Julia Roberts a delightful vehicle for her crowd-pleasing comeback, but it further distinguished itself by avoiding the conventional plotting of the genre. Julia plays a prominent Chicago restaurant critic whose best friend (Dermot Mulroney) is a former lover from her college days with whom she'd made a binding pact: if neither of them were married by the age of 28, they'd marry each other. Just when they're about to reach the deadline of their agreement, Mulroney arrives in Chicago to introduce Roberts to his seemingly perfect fiancée (Cameron Diaz) and announce their wedding in just three days. That leaves the shocked Julia with just three short days to sabotage the wedding and marry the man she now realises she's loved all along. With potential heartbreak waiting in the wings, she'll either get what she wants or pay the price for her selfish behaviour, and Ronald Bass's cleverly constructed screenplay keeps us guessing to the very end. Rupert Everett scored rave reviews for his scene-stealing performance as Robert's gay friend who goes along with her scheming (but only so far), and even as she makes her character's needy desperation disarmingly appealing, Roberts wisely allows Diaz to capitalise on her charming time in the spotlight. As the romantic outcome remains uncertain, the viewer is held in a state of giddy suspense, and director PJ Hogan pulls off some hilarious scenes (like a restaurant full of people singing the Dionne Warwick hit "I Say a Little Prayer") that could easily have fallen flat in the hands of a less talented filmmaker. It's no surprise that this was one of the box-office smashes of 1997. --Jeff Shannon
Part of what was touted as a late-1980s revival of Westerns (and you can see how long that lasted), this good-looking, empty-brained film was like a spurs-and-chaps version of a Joel Schumacher movie, filled with pretty faces, prettier imagery, and absolutely no new ideas. Young Guns sees an idiotically grinning Emilio Estevez cast as Billy the Kid, who slowly accumulates a gang of Brat Pack buddies (Lou Diamond Phillips, Kiefer Sutherland, Dermot Mulroney) and fashions them into a group of male models with six-guns. The action is confused and the script is trite, though Terence Stamp is intriguing as the old reprobate who helps the gang get its act together. This is followed by an even worse sequel. --Marshall Fine
A woman finds herself drafted into the battle of finding the perfect man in this romantic comedy.
This is one of those Hollywood remakes of a European hit in which one can visualize a committee of studio executives sitting around and saying, "Okay, we know what made the original film unique and different and fun. How can we make that same movie and do exactly the opposite?" For-hire director John Badham (Saturday Night Fever) took La Femme Nikita, Luc Besson's undeniably sexy, original, and kitschy French film about a female assassin, and translated it into The Assassin, a calculating, mechanistic American thriller with no distinctive style. Bridget Fonda gamely plays the willowy street punk who becomes a high-society killer, but once that provocative irony is in place, the movie is pretty much a series of by-the-numbers action set pieces. Until, that is, Dermot Mulroney shows up as a love interest; but even that twist can't save this film. You're much better off with the original, subtitles and all. The DVD release has optional full-screen and widescreen presentations, production notes, theatrical trailer, optional French and Spanish soundtracks, and optional English, French, and Spanish subtitles. --Tom Keogh, Amazon.com
Logan is 13 years old and a dreamer. soft spoken and isolated he has a crush on an older and infinetly cooler boy Rodeo walker. As Logan and rodeo strike up a mismatched friendship the kind that only works on walks deep into the forest when no one else is around logan's infatuation with Rodeo inspires him to create a new persona named Leah. Leah and Rodeo grow close through whispered late night phone calls and when Leah agrees to meet Rodeo face to face it is Logan who must finally prove that he can ask for what he so achingly wants.
Young Guns Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Dermot Mulronery and Casey Siemaszko take on the Wild West in this heart-stopping, gunslinging action adventure. The year is 1878, Lincoln County. John Tunstall, A British ranchowner, hires six rebellious boys as regulators to protect his ranch against the ruthless Santa Fe Ring. When Tunstall is killed in an ambush, the Regulators, led by the wild-tempered Billy the Kid (Estevez), declare war on the Ring. As their vendetta turns into a bloody rampage, they are branded outlaws, becoming the objects of the largest manhunt in Western history. Young Guns II: Blaze Of Glory Good weather for hanging. Billy the Kid's outlaw ingrates are penned like sows in a Lincoln County pit and the Kid is strapped in a nearby hotel. But the hangman will go home disappointed tonight. Billy cleverly breaks himself - then his gang - free. One of the West's greatest legends lives on to ride another day. Emilio Estevez, Keifer Sutherland, Lou Diamond Phillips and Christian Slater saddle up for Young Guns II, featuring Jon Bon Jovi's 1990 Oscar® - nominated* and Golden Globe® Award-winning Best Original Song ʻBlaze of Glory'. By 1879, the Lincoln County Wars have ended but bad blood endures. Billy and his men look to Mexico for haven - if they can elude Billy's one-time friend, pursuing sheriff Pat Garrett (William Petersen). The real Billy the kid documentary Advanced trivia pack
Thanks to generous funding from media mogul Ted Turner, first-time director Ronald F Maxwell was able to make an almost word-for-word adaptation of Michael Shaara's Pulitzer Prize-winning novel, The Killer Angels. Running over four hours, Gettysburg (1993) splits into two convenient parts for TV viewing (although a 70mm print was given limited theatrical release). This story of three bloody days of conflict in July, 1863 (an unimaginable 50,000 casualties), is divided equally between Union and Confederate forces. On the Union side, Jeff Daniels is the quietly heroic Colonel Joshua Chamberlain; Sam Elliott is utterly convincing as General Buford, the Union cavalryman who holds the Confederate army at bay on the first day. Martin Sheen plays an oddly subdued and vacillating General Lee--a controversial portrait of the legendary Confederate chief--while Tom Berenger, despite being almost hidden underneath an enormous authentically period-style beard, is strong and authoritative as General Longstreet (whose opposition to Lee's plans gave many in the Confederacy a reason to blame him for the disaster at Gettysburg). Chamberlain's last-ditch defence of Little Round Top, which prevented the Union forces from being flanked on the second day of battle, forms the climax to the first half; the heartbreaking Pickett's Charge--the Confederates' disastrous frontal assault on the entrenched Union lines on the third day--is the movie's greatest set piece and one of the most compelling reasons to endure a little too much stodgy dialogue (lifted directly from the novel) and an apparently over-reverential attitude to the subject-matter. But much of this movie was made in and around the actual battle site, so it's only to be expected that the cast and crew tread carefully, as if literally under the watchful eyes of the men whose lives they are re-enacting. And re-enactment is the key: with a cast of thousands in splendidly detailed period costumes, cannonades galore and massed ranks of musketry, the sheer scale of the military spectacle is endlessly impressive. If as a piece of filmmaking it has many faults, as an historical re-enactment Gettysburg is unsurpassed--even by the epic Waterloo (1970), which drafted in a large chunk of the Russian army as Napoleonic extras. --Mark Walker
It was a dangerous time to be a woman; a good time to have friends! Four former saloon ladies kill a violent customer in self-defence. Anxious to start a new life the quartet finds the law pursuing them across the West...
During his lifetime, J. Edgar Hoover would rise to be the most powerful man in America. As head of the Federal Bureau of Investigation for nearly 50 years, he would stop at nothing to protect his country. Through eight presidents and three wars, Hoover waged battle against threats both real and perceived, often bending the rules to keep his countrymen safe. His methods were at once ruthless and heroic, with the admiration of the world his most coveted, if ever elusive, prize.Hoover was a man who placed great value on secrets-particularly those of others-and was not afraid to use that information to exert authority over the leading figures in the nation. Understanding that knowledge is power and fear poses opportunity, he used both to gain unprecedented influence and to build a reputation that was both formidable and untouchable. He was as guarded in his private life as he was in his public one, allowing only a small and protective inner circle into his confidence. His closest colleague, Clyde Tolson, was also his constant companion. His secretary, Helen Gandy, who was perhaps most privy to Hoover's designs, remained loyal to the end... and beyond. Only Hoover's mother, who served as his inspiration and his conscience, would leave him, her passing truly crushing to the son who forever sought her love and approval.As seen through the eyes of Hoover himself, J. Edgar explores the personal and public life and relationships of a man who could distort the truth as easily as he upheld it during a life devoted to his own idea of justice, often swayed by the darker side of power.
Riding the coat-tails of the early 1990's Western revival, the HBO television movie The Last Outlaw is a good, taut B-picture evoking the conventions of bigger and better Spaghetti Westerns of the 1960s and 70s. Set in New Mexico in 1873, from the opening bank robbery onwards the movie plays like The Wild Bunch meets High Plains Drifter, the obsessive, psychotic Colonel Graff (Mickey Rourke at his best) hunting down his own men after they refuse to abandon an injured comrade. Facing up to Graff is the impressively understated Dermot Mulroney as Eustis, a man who has seen too much killing and simply wants it to stop. Writer Eric Red spins some interesting variations on a classic Western set-up, delivering a comparable psychological intensity to his earlier The Hitcher (1986); as the story unfolds Graff becomes an avenging emissary of death, the tale assuming a timeless mythological resonance. Director Geoff Murphy stages what comes down to one long chase with considerable style, and while there's nothing here fans of the genre haven't seen many times before, in an age starved of Westerns that's actually a large part of the appeal. --Gary S Dalkin
Lila a struggling student takes a job in the psychology department to supplement her income. Professor Burton explains her duties but is soon taken to using her for her psychic abilities...
Las Vegas police officer Vincent Downs (Jamie Foxx) finds himself caught in a high-stakes web of corrupt cops, internal affairs and murderous gangsters. When a failed heist leads to the kidnapping of his teenage son (Octavius J. Johnson), Downs must race against time during a wild and restless night to save him and bring the criminals to justice.
One of the best romantic comedies of the 1990s, My Best Friend's Wedding not only gave Julia Roberts a delightful vehicle for her crowd-pleasing comeback, but it further distinguished itself by avoiding the conventional plotting of the genre. She plays a prominent Chicago restaurant critic whose best friend (Dermot Mulroney) is a former lover from her college days with whom she'd made a binding pact: if neither of them were married by the age of 28, they'd marry each other. Just when they're about to reach the deadline of their agreement, Mulroney arrives in Chicago to introduce Roberts to his seemingly perfect fiancée (Cameron Diaz) and announce their wedding in just three days. That leaves the shocked Julia with just three short days to sabotage the wedding and marry the man she now realises she's loved all along. With potential heartbreak waiting in the wings, she'll either get what she wants or pay the price for her selfish behaviour, and Ronald Bass' cleverly constructed screenplay keeps us guessing to the very end. It's no surprise that this was one of the box-office smashes of 1997. --Jeff Shannon, Amazon.com On the DVD: My Best Friend's Wedding is presented in 2.35:1 anamorphic widescreen and there is very little grain or noise, the only blurring coming from those soft focus moments. There are two "making-of" documentaries, one produced by HBO and the other a general behind the scenes mix of fly on the wall footage and interviews with cast and crew. Masquerading as helpful hints for the soon to be wed there's also a short featurette called "Wedding Do's and Don'ts". You can also sing along with one of the film's more bizarre moments; the fish restaurant rendition of "Say a Little Prayer", check out the pictures in the wedding album and read the filmographies. --Kristen Bowditch
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