Every family has its traditions, but for the Roys, they include lying, backstabbing and all sorts of other chicanery. Beginning where the first season dramatically left off, Season 2 follows the Roysmedia tycoon Logan (Brian Cox) and his four grown childrenas they struggle to retain control of their empire amidst internal and external threats. As Kendall (Jeremy Strong) deals with fallout from his hostile takeover attempt and guilt from his involvement in a fatal accident, Shiv (Sarah Snook) stands poised to make her way into the upper-echelons of the company, while Roman (Kieran Culkin) reacquaints himself with the business by starting at the bottom, and Connor (Alan Ruck) launches an unlikely bid for president.
Power, politics, money...it's all in the family in this provocative, bitingly funny drama series about a highly dysfunctional dynasty. When aging, uberwealthy patriarch Logan Roy (Brian Cox), CEO of one of the world's largest media and entertainment conglomerates, decides to retire, each of his four grown children follows a personal agenda that doesn't always sync with those of their siblings-or of their father. After Logan changes his mind about stepping down, he endures the often-childish bickering of his heirs while others in their orbit position themselves for a post-Logan world that seems imminent, though not predestined. Jeremy Strong, Kieran Culkin, Sarah Snook and Alan Ruck co-star as Logan's children; also with Hiam Abbass, Nicholas Braun and Matthew Macfadyen. Bonus Features Season 1 The cast and crew of Succession break down the action of the first season's heart-stopping finale Season 2 An Invitation to the Set with the Series' Storytellers 10 Inside the Episode Featurettes
Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his sceptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story. And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity... The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. --Sam Sutherland
It's a special garden where friendships blossom illnesses fade away and sorrows flee. There troubled orphan Mary (Kate Maberly) her spoiled sickly cousin Colin (Heydon Prowse) and kindly country boy Dickon (Andrew Knott) discover that a world of caring can make a world of difference. Frances Hodgson Burnett's classic story blooms anew in this enchanting new version lovingly adapted by Caroline Thompson and directed by Agnieszka Holland also starring Maggie Smith and John Lynch.
It's 'vege-mania' in Wallace and Gromit's first feature adventure.
Director Rob Reiner's The Princess Bride is a gently amusing, affectionate pastiche of a medieval fairytale adventure, offering a similar blend of warm, literate humour as his Stand By Me (1985) and When Harry Met Sally (1989). Adapted from his own novel, William Goldman's script plays with the conventions of such 1980s fantasies as Ladyhawke and Legend (both 1985), and with the budget never allowing for spectacle, sensibly concentrates on creating a gallery of memorable characters. Robin Wright makes a delightful Princess Buttercup, Cary Elwes is splendid as Westley and "Dread Pirate Roberts", while Mandy Patinkin makes fine Spanish avenger. With winning support from Mel Smith, Peter Cook, Billy Crystal and Carol Kane there is sometimes a Terry Gilliam/Monty Python feel to the proceedings, and the whole film is beautifully shot, with a memorably romantic main theme by Mark Knopfler. Occasionally interrupted by Peter Falk as a grandfather reading the story to his grandson, The Princess Bride is an elegant post-modern family fable about storytelling itself; a theme found in other 1980s films The Neverending Story (1984) and The Adventures of Baron Munchausen (1988). A modest, small-scale work that manages to be both cynically modern and genuinely romantic all at once. As charming as you wish. On the DVD: The 1.77:1 anamorphic transfer is strong, if not quite as detailed as it might be. Colours lack just a little solidity and some scenes evidence a fair amount of grain. Released theatrically in Dolby stereo, the Dolby Digital 5.1 remix spreads the sound effectively across the front speakers but makes very little use of the rear channels indeed. Extras are limited to filmographies of five of the leading actors, and a 4:3 presentation of the theatrical trailer, which gives far too many of the film's surprises away.--Gary S Dalkin
Set in a small town in North Carolina during the 1950's, this is the romantic story of the only son of a wealthy family and the daughter of the town's minister, thrown together during the town's Christmas pageant.
Sit down put your feet up light a fag and join Britain's first family in their sitting room for the complete three series of The Royle Family as well as the Christmas specials and the Finale episode! The Royle Family is a real-life comedy set in a Manchester council house. Imagine a secret camera placed in the living room of an average working class family. The intense drama and emotions of everyday life such as whose turn it is to go to the off-licence is set against the continuous hum of the television. The rosy hue of their life is yellowed only by a nicotine haze. Series 1: 1. Bills Bills Bills 2. Making Ends Meet 3. Sunday Afternoon 4. Jim's Birthday 5. Another Woman? 6. The Wedding Day Series 2: 1. Pregnancy 2. Sunday Lunch 3. Nana's Coming To Stay 4. Nana's Staying! 5. Barbara's Finally Had Enough Series 3: 1. Hello Baby Dave 2. Babysitting Again 3. Decorating 4. Elise Funeral 5. Antony's Going To London 6. The Christening Also includes the 1999 and 2000 Christmas Special episodes as well as the Finale!
Blood Simple made it clear that the cinematically precocious Coen brothers (writer-director Joel and writer-producer Ethan) were gifted filmmakers to watch out for. But it was the outrageously farcical Raising Arizona that announced the Coens' darkly comedic audacity to the world. It wasn't widely seen when released in 1987, but its modest audience was vocally supportive, and this hyperactive comedy has since developed a large and loyal following. It's the story of "Ed" (for Edwina, played by Holly Hunter), a policewoman who falls in love with "Hi" (for H.I. McDonnough, played by Nicolas Cage) while she's taking his mug shots. She's infertile and he's a habitual robber of convenience stores, and their folksy marital bliss depends on settling down with a rug rat. Unable to conceive, they kidnap one of the newsworthy quintuplets born to an unpainted-furniture huckster named Nathan Arizona (Trey Wilson), who quickly hires a Harley-riding mercenary (Randall "Tex" Cobb) to track the baby's whereabouts. What follows is a full-throttle comedy that defies description, fuelled by the Coens' lyrical, redneck dialogue, the manic camerawork of future director Barry Sonnenfeld and some of the most inventively comedic chase scenes ever filmed. Some will dismiss the comedy for being recklessly over-the-top; others will love it for its clever mix of slapstick action, surreal fantasy and homespun family values. One thing's for sure--this is a Coen movie from start to finish, and that makes it undeniably unique. --Jeff Shannon
Writer Harold Pinter (Betrayal) and director Karel Reisz (Isadora) take an experimental spin with John Fowles's magnificent novel set in Victorian England, and come up with something puzzling. Jeremy Irons and Meryl Streep play the forbidden lovers in Fowles's story, but in a parallel story line they also play contemporary actors performing those characters in a movie production and having an affair of their own during off-hours. Got that? Considering that Fowles himself presents alternative endings in his novel, something equally eccentric is called for here. But little is accomplished by this intertwining of a fictional past and present, and the opportunity to do justice to a great story is lost. On the plus side, Irons and Streep are instantly striking as a natural couple on screen, and their presence makes watching The French Lieutenant's Woman easy enough despite the larger problems. --Tom Keogh
When it arrived on the big screen in 1987, Paul Verhoeven's RoboCop was like a high-voltage jolt of electricity, blending satire, thrills, and abundant violence with such energized gusto that audiences couldn't help feeling stunned and amazed. The movie was a huge hit, and has since earned enduring cult status as one of the seminal science fiction films of the 1980s. Followed by two sequels, a TV series, and countless novels and comic books, this original RoboCop is still the best by far, largely due to the audacity and unbridled bloodlust of director Verhoeven. However, the reasons many enjoyed the film are also the reasons some will surely wish to avoid it. Critic Pauline Kael called the movie a dubious example of "gallows pulp," and there's no denying that its view of mankind is bleak, depraved, and graphically violent. In the Detroit of the near future, a policeman (Peter Weller) is brutally gunned down by drug-dealing thugs and left for dead, but he survives (half of him, at least) and is integrated with state-of-the-art technology to become a half-robotic cop of the future, designed to revolutionize law enforcement. As RoboCop holds tight to his last remaining shred of humanity, he relentlessly pursues the criminals who "killed" him. All the while, Verhoeven (from a script by Edward Neumeier and Michael Miner) injects this high-intensity tale with wickedly pointed humour and satire aimed at the men and media who cover a city out of control. --Jeff Shannon, amazon.com
A visually sumptuous and quintessentially British production, Death on the Nile won an OscarÂ® for Anthony Powell's costume design and introduced Peter Ustinov in his first portrayal as the Belgian detective Poirot. Abroad a luxury Nile steamer a mystery assassin takes the life of an heiress. EXTRAS Making Of Interview with costume designer Anthony Powell Interview with Dame Angela Lansbury Interview with producer Richard Goodwin Behind the scenes stills gallery Costume designs stills gallery
He's RoboCop. And in the near future he's law enforcement's only hope. A sadistic crime wave is sweeping across America. In Old Detroit the situation is so bad a private corporation Omni Consumer Products (OCP) has assumed control of the police force. The executives at the company think they have the answer - until the enforcement droid they create kills one of their own. Then an ambitious young executive seizes the opportunity. He and his research team at Security Concept
The world's greatest detectives have been invited to dinner. But when murder is on the menu who will make it to dessert? You are cordially invited to join an all-star cast featuring Peter Sellers David Niven Peter Falk James Coco Elsa Lanchester Maggie Smith Alec Guinness Eileen Brennan Nancy Walker James Cromwell and Estelle Winwood for Neil Simon's hilarious murder-mystery spoof 'Murder By Death'. The isolated mansion of eccentric millionaire Lionel Twain (Truman Capote
New Zealand filmmaker Lee Tamahori (The Edge) directed this brutal but powerful story drawn from the culture of poverty and alienation enveloping contemporary Maori life. Rena Owen plays the beleaguered mother of two boys--one of whom is already in prison while the other contemplates membership in a gang--and a daughter whose potential is being smothered at home. Temuera Morrison gives an outstanding and sometimes shocking performance as the violent head of the household, more adept at keeping up his social stature within his community of friends than holding down a job. Once Were Warriors pulls no punches, literally and figuratively, but despite the rough going, Tamahori gives us a rare and important insight into a disenfranchised people digging down deep to find their pride. --Tom Keogh, Amazon.com
Based on the best-selling anthologies of Victorian and Edwardian detective fi ction, The Rivals of Sherlock Holmes features the world-famous consulting detective's fictional rivals in the fog-shrouded crime capital of London. Set in the three decades before the Great War, each story dealt with an individual and perplexing case (and a different detective). This top-flight, BAFTA-winning series attracted an incredible array of talent, including John Neville, Robert Stephens, Peter Vaughan, Roy Dotrice, Donald Pleasence, Ronald Hines, Peter Barkworth and Donald Sinden. This set contains the 13 high quality episodes that made up the complete first series
Fargo: William H. Macy plays Jerry Lundegaard a Minneapolis car salesman who is by all accounts a loser. He is desperately in debt so decides to hires two thugs (who are bigger losers than he is) to kidnap his wife in the hope that his wealthy father-in-law (who bullies him regularly) will pay the ransom. When one of the kidnappers goes off the rails and events career out of control it falls to Marge Gunderson Chief of the Brainerd Police Department to set things right. The Usual Suspects: Held in an L.A. interrogation room Verbal Kint (Spacey) attempts to convince the feds that a mythic crime lord not only exists but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor - leaving few survivors. But as Kint lures his interrogators into the incredible story of this crime lord's almost supernatural prowess so too will you be mesmerized by a lore that is completely captivating from beginning to end! Silence Of The Lambs: A psychopath known only as Buffalo Bill is kidnapping and murdering young women across the midwest. Believing it takes one to know one the FBI send in Agent Clarice Starling to interview an insane prisoner who may provide psychological Dr. Hannibal Lecter. Brilliant yet psychotic with a taste for cannibalism Lecter will only help Starling in exchange for details and secrets about her own complicated life. This twisted relationship forces Starling not only to face her own inner demons but leads her face-to-face with a demented killer an incarnation of evil so overwhelming she may not have the courage or strength to stop him. Horrific disturbing spellbinding. This thriller set the standard by which all others are measured.
Jane Campion's The Piano struck a deep chord (if you'll excuse the expression) with audiences in 1993, who were mesmerised by the film's rich, dreamlike imagery. It is the story of a Scottish woman named Ada (Holly Hunter), who has been mute since age 6 because she simply chose not to speak. Ada travels with her daughter Flora (Anna Paquin) and her beloved piano to a remote spot on the coast of New Zealand for an arranged marriage to a farmer (Sam Neill). She gives piano lessons to a gruff neighbor (Harvey Keitel) who has Maori tattoos on his face, and, well, things develop from there. The picture takes on a powerful dream logic that simply defies synopsis. It's a breathtakingly beautiful and original achievement from Campion, a unique stylist. The Piano won the Palme d'Or at the Cannes Film Festival and Oscars for Hunt, Paquin and Campion's screenplay. --Jim Emerson
Ada her nine-year-old daughter and her piano arrive to an arranged marriage in the remote bush of nineteenth century New Zealand. Of all her belongings her husband refuses to transport the piano and it is left behind on the beach. Unable to bear its certain destruction Ada strikes a bargain with an illiterate tattooed neighbour. She may earn her piano back if she allows him to do certain things while she plays; one black key for a lesson. The arrangement draws all three deeper in
Paul Verhoeven was almost unknown in Hollywood prior to the release of RoboCop in 1987. But after this ultra-violent yet strangely subversive and satirical sci-fi picture became a huge hit his reputation for extravagant and excessive, yet superbly well-crafted filmmaking was assured. Controversial as ever, Verhoeven saw the blue-collar cop (Peter Weller) who is transformed into an invincible cyborg as "an American Jesus with a gun", and so the film dabbles with death and resurrection imagery as well as mercilessly satirising Reagan-era America. No targets escape Verhoeven's unflinching camera eye, from yuppie excess and corporate backstabbing to rampant consumerism and vacuous media personalities. As with his later sci-fi satire Starship Troopers the extremely bloody violence resolutely remains on the same level as a Tom and Jerry cartoon. The inevitable sequel, competently directed by Irvin Kershner, thankfully continues to mine the dark vein of anti-consumerist satire while being reflexively aware that it is itself a shining example of that which it is lampooning. Sadly the third instalment in the series, now without Peter Weller in the title role, is exactly the kind of dumbed-down production-line flick that the corporate suits of OCP might have dreamed up at a marketing meeting. Its only virtue is a decent music score from regular Verhoeven collaborator Basil Poledouris, whose splendid march theme returned from the original score. On the DVD: Packaged in a fold-out slipcase these three discs make a very collectable set. All are presented in 1.85:1 anamorphic prints, although only the first movie has any extra material worth mentioning. Here the Director's Cut option allows the viewer to see Paul Verhoeven's more explicitly violent versions of Murphy's "assassination", ED-209's bloody malfunction and the shootout finale. These extended sequences are handily signposted in the scene selection menu, and the filming of them can be seen in a sequence of Director's Cut footage. Deleted scenes include "Topless Pizza" ("I'll buy that for a dollar!") and there are two contemporary "making of" featurettes plus a good, new half-hour retrospective. Both the latter and the director's commentary make abundantly clear the Reagan-era satire and are chock full of quotable lines from Verhoeven--"I wanted to show Satan killing Jesus"--and his producer--"Fascism for liberals". Stop-motion animator Phil Tippett gives a commentary on the storyboard-to-film comparisons, and there are the usual trailers and photos. Showing just how much the sequels are rated in comparison, the second and third discs have nothing but theatrical trailers and their sound is just Dolby 2.0 whereas the original movie has been remastered into Dolby 5.1.--Mark Walker
Please wait. Loading...