From Disney and visionary director Tim Burton, the grand live-action adventure Dumbo expands on the beloved classic story where differences are celebrated, family is cherished and dreams take flight. Circus owner Max Medici (Danny DeVito) enlists former star Holt Farrier (Colin Farrell) and his children to care for a newborn elephant whose oversized ears make him a laughingstock in an already struggling circus. But when they discover that Dumbo can fly, the circus makes an incredible comeback, attracting persuasive entrepreneur V. A. Vandevere (Michael Keaton), who recruits the peculiar pachyderm for his newest, larger-than-life entertainment venture, Dreamland. Dumbo soars to new heights alongside the charming and spectacular aerial artist Colette Marchant (Eva Green)until Holt learns that beneath its shiny veneer, Dreamland is full of dark secrets. Bonus Features: Circus Spectaculars The Elephant In The Room Built To Amaze Deleted Scenes: Roustabout Rufus Pachyderm Plans The Other Medici Brother Monkey Business A Star Is Born Where's Dumbo?! Elephant Heist Backstage A Seat At The Show Easter Eggs On Parade Clowning Around Baby Mine Performed By Arcade Fire
Tom Hardy (Bruce Willis) is a fifth generation Pittsburgh cop. Formerly a homicide detective he publicly challenged the police department including several of his family members about the identity of the serial killer who took his father's life. Convinced that a newly active serial killer is the same gunman who murdered his father - despite the fact that another man is already behind bars for that crime - Hardy is working out of his jurisdiction to catch the killer. The maverick
Blade's back and this time he's facing the greatest vampire of them in with just Jessica Alba and Ryan Reynolds for back up.
Films comprise: 1. I Was Monty's Double (Dir. John Guillermin 1958) 2. Ice Cold In Alex (Dir. J. Lee Thompson 1958) 3. Went The Day Well? (Dir. Alberto Cavalcanti 1942)
THE LADYKILLERS is quintessential Ealing. Director Alexander Mackendrick’s film centres on a criminal gang planning their next job who find themselves boarding with an innocent old lady who thinks they are musicians. When the gang set out to kill Mrs. Wilberforce they run into one problem after another and get what they deserve. Mackendrick’s last film as director before his move to Hollywood THE LADYKILLERS remains one of the best British comedies ever made.
Is it time, after the anonymous disaster of Mission to Mars, to give Brian De Palma's famously doomed film of Tom Wolfe's bulky novel Bonfire of the Vanities another chance? The uproarious ins and outs of the film's troubled production have become well-known via Julie Salamon's account of its making, The Devil's Candy, and fans of that might want to flick between page and screen to see just when Melanie Griffith caused untold continuity problems by having her breasts inflated. Techno buffs will surely appreciate the pointless but somehow wonderful trickery of an extended tracking shot at the outset that exists only to last a few seconds longer than the one in Orson Welles Touch of Evil (1958). Tom Hanks was rather better cast than was generally allowed, as "master of the universe" Sherman McCoy, who comes a cropper after a hit-and-run accident, since his nice-guy act shows intriguing cracks. And even Bruce Willis does his best on a hiding to nothing as the drunken writer. It is funny in parts, agonising in others, and misses Wolfe's tone--but somehow its failures might make it as symptomatic of the long-gone excesses of the early 90s as the novel was of the 80s. --Kim Newman
In this feature length special the doors of the world's imagination are thrown wide open and the boys of South Park are transported to a magical realm in their greatest odyssey ever. Stan Kyle and Butters find themselves in Imaginationland just as terrorists launch an attack that unleashes all of mankind's most evil characters imaginable. With the world's imaginations spinning out of control the government prepares to nuke Imaginationland to put an end to the chaos. Racing against time to prevent nuclear annihilation the citizens of Imaginationland realize their only hope of salvation lies in the mind of the unlikeliest hero: Butters. Ignoring the impending apocalypse Cartman goes all the way to the Supreme Court to get justice for his case of dry balls.
Vivien Leigh is the young Cleopatra and Claude Rains is Julius Caesar in the spectacular 1945 version of George Bernard Shaw's Caesar and Cleopatra. As Rome invades Egypt Julius Caesar (Rains) stumbles across the young and unrefined princess Cleopatra (Leigh) sheltering in the Sphinx. Impressed by her spirit and intelligence seduced by her charm he determines to make her Queen. Cleopatra learns about power and politics at the feet of a master but her downfall begins when she is se
Disenchanted gunslinger Jimmy Ringo (Gregory Peck) is heading towards a reunion with his son, and, he hopes, a new life free of bloodshed. However, before he can reach his destination, he is confronted by a local hot-head who forces him into a shoot-out. The brothers of the young assailant vow to gain their revenge after Ringo guns him down in self-defence. Extras/Episodes: High Definition Transfer Interview with Film Expert Courtney Joyner Arthur Miller: Painter with Light featurette The Western Grows Up featurette Posters & Images from Around the World Original Theatrical Trailer
If Eddie Murphy's comic tone turns on a dime, Martin Lawrence can perhaps be described as sauntering around the dime, looking around to see if anyone else has seen it, then picking the dime up, pocketing it, and casually walking off. He lazily indicates his humour, as if it's too much trouble to actually make the joke--and that distance is what makes him funny. At his best, Lawrence describes a kind of comic space and wanders around in it, claiming it for himself the way a dog might mark his territory, suggesting that what you think is funny doesn't matter to him; he just happens to be where the jokes are, and if you aren't laughing, that's your problem. In Blue Streak, Lawrence plays a jewel thief who plants a stolen diamond in the ventilation duct of a building under construction. When he's released from prison a few years later, he discovers that the building is now a Los Angeles police station. His solution: he impersonates a detective. Of course, everyone believes his disguise. Not only that, using his inside knowledge, he solves several crimes and earns the general admiration of the force. It's a standard fish-out-of-water setup and the plot doesn't take any chances with the formula, but Lawrence wears his role like a loose suit and does a little low-key boogie whenever he can, drawing you into the absurdity with a cock of his head and a roll of his eyes. --Bret Fetzer, Amazon.com
Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak
The archetypal single gal from Sex and the City dives into family life in I Don't Know How She Does It. Kate Reddy, played by Sarah Jessica Parker, could easily be Carrie Bradshaw's alternate life: a rising finance analyst, Kate feels guilty for short-changing her husband (Greg Kinnear) and two children. When she gets the opportunity to work with a high-powered exec (Pierce Brosnan), the already tense family relationship gets stretched to the breaking point and Kate has to make some hard choices. I Don't Know How She Does It is pure formula, but executed well. The entire cast (also including Christina Hendricks as a single-mum best friend, Kelsey Grammer as an overbearing boss, Seth Meyers as a sniping rival, and a scene-stealing Olivia Munn as Kate's assistant) play their parts with skill, while Parker's rapport with Kinnear is particularly warm and persuasive. Moreover, you have to admire the sheer chutzpah of hammering home political points about double standards in the workplace and then delivering a fairy-tale ending. Men have realised the importance of family over work in dozens upon dozens of cookie-cutter heartwarming flicks; apparently it's time that women got the opportunity to do the same. No doubt this signifies some important cultural shift; college theses are waiting to be written about it. --Bret Fetzer
Director/producer Garry Marshall brings together an stellar ensemble cast to celebrate love hope forgiveness second chances and fresh starts in intertwining stories told amidst the pulse and promise of New York City on the most dazzling night of the year.
One of Woody Allen's best films of the 90s, Bullets Over Broadway stars John Cusack as a virtual Woody surrogate, a neurotic, Jazz Age writer whose new play sounds wooden and unrealistic to a low-level mobster (Chazz Palminteri) assigned to watch over his boss's actress-girlfriend (Jennifer Tilly). When the hood starts contributing better story ideas and dialogue than what the official playwright can conjure, questions (not unlike those of Amadeus) about the price we pay to make art at the expense of other responsibilities are intriguingly raised. Palminteri gives a very interesting performance as the enforcer waking up to the desperate (and almost feminine) demands of his own creative psyche, and Dianne Wiest (who won an Oscar), Tracey Ullman, Jim Broadbent and Jennifer Tilly are very funny together playing the ensemble cast of Cusack's play. --Tom Keogh, Amazon.com
In this semi-autobiographical screenplay Neil Simon's private memoirs in the US Army are made public. Set in 1943 at an army base in Biloxi Mississippi a lowly recruit (Broderick) comes under the command of a very weird drill sergeant (Walken)...
A new mockumentary from the makers of "Best in Show" captures the reunion of a collection of 1960s folk heroes as they prepare for a tribute show to memorialize a recently deceased concert promoter.
A box set featuring 16 of the finest efforts from the house of Ealing. 1. Champagne Charlie (Dir. Alberto Cavalcanti 1944) 2. Dead of Night (Dirs. Alberto Cavalcanti & Charles Crichton 1945) 3. Hue & Cry (Dir. Charles Crichton 1947) 4. It Always Rains on Sunday (Dir. Robert Hamer 1947) 5. Kind Hearts and Coronets (Dir. Robert Hamer 1949) 6. The Ladykillers (Dir. Alexander Mackendrick 1955) 7. The Lavender Hill Mob (Dir. Charles Crichton 1951) 8. The Maggie (Dir. Alexander Mackendrick 1954) 9. The Magnet (Dir. Charles Frend 1950) 10. The Man in The White Suit (Dir. Alexander Mackendrick 1951) 11. Nicholas Nickelby (Dir. Alberto Cavalcanti 1947) 12. Passport To Pimlico (Dir. Henry Cornelius 1949) 13. Scott of The Antarctic (Dir. Charles Frend 1948) 14. The Titfield Thunderbolt (Dir. Charles Crichton 1953) 15. Went The Day Well? (Dir. Alberto Cavalcanti 1942) 16. Whisky Galore (Dir. Alexander Mackendrick 1949)
Jeff Bridges and Ryan Reynolds headline the supernatural action-adventure R.I.P.D. as two undead cops dispatched by the otherworldly Rest In Peace Department to protect our world from an increasingly destructive array of creatures who refuse to move peacefully to the other side. R.I.P.D. is directed by Robert Schwentke (Red) and produced by Neal H. Moritz (the Fast and Furious series I Am Legend) Michael Fottrell and Mike Richardson.
Tripp has never been able to leave the nest. His parents hire the gorgeous girl of his dreams to get him to move out of the house.
An early entry in the 1950s cycle of creature-feature pictures, Them! is the one about hordes of ants mutated to a giant size by the first A-bomb test. An exciting, persuasive exercise in paranoid science fiction, it exhibits an interesting tension between cautious warning about irresponsible tampering with the atom and a Cold War vision of the authorities taking on extraordinary powers to combat a threat to the country. It begins as an eerie desert mystery, with New Mexico cop James Whitmore investigating disappearances and deaths: a mobile-home and a general store are crushed as if tanks have rolled over them, a shopkeeper is found dead of a huge injection of formic acid, quantities of sugar have been stolen (the film's sole straight-faced joke) and a catatonic little girl is shocked into shrieking "them, them!". FBI agent James Arness takes charge and a plaster-cast of a strange imprint summons a father and daughter investigative team from the Department of Agriculture, cherubic Edmond Gwenn and smart-suited Joan Taylor. Law-enforcement, military and scientific experts deduce the nature of the problem and take swift, decisive action to counteract the danger. Director Gordon Douglas stages several great monster-suspense scenes: a first encounter in a sandstorm, a venture into a poisoned nest, a glimpse of horror at sea, and a finale in the Los Angeles storm drains. On the DVD: Them! has the wonderful scarlet-lettered, shrieking title on an otherwise sharp-looking black and white print. An amusing newspaper-style menu uses original artwork from the lurid poster to showcase some interesting snippets of test or outtake footage of the big puppet ants in action, and there's a wonderfully overblown terror-trailer.--Kim Newman
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