Richard Burton stars in Alexander the Great, a middling entry in the 1950s CinemaScope epic cycle. The film boasts excellent production values and a fine cast--including Frederic March, Claire Bloom, Harry Andrews, Stanley Baker, Peter Cushing and Michael Hordern--but it rarely comes to life other than as a big fat ancient Greek wedding of the talents of Burton and Bloom. They strike real dramatic sparks together, so much so they would be reunited in Look Back in Anger (1958) and The Spy Who Came in from the Cold (1965). The film's failures must be laid at the feet of writer, director and producer Robert Rossen, who never before or after helmed anything remotely on this scale; his best work would follow with the intimate The Hustler (1961). Rossen simply shows little sensibility for the epic, staging lavish but brief and rather pedestrian battles and somehow drawing from the usually mesmerising Burton a performance lacking the charisma essential to a great military commander. Burton fans can enjoy him at his epic best as Marc Anthony in Cleopatra (1963). On the DVD: Alexander the Great is presented anamorphically enhanced at 2.35:1, although the picture is still obviously cropped at either side of the screen throughout. The print is very variable, in places quite grainy and soft with some serious flickering blotchiness, but otherwise it has strong colours, detail and contrast. The sound is primitive stereo. The only extra is the theatrical trailer, effectively presented in anamorphic 2.35:1. --Gary S. Dalkin
Dr. Who (Doctor Who): Black Guardian Trilogy (3 Disc)
This fast moving Cinderella-story comedy follows the fortunes of 18 year-old Connie Doyle (Ricki Lake). Homeless penniless and pregnant Connie's life changes forever when she is mistaken for another woman after the train she is travelling on crashes.
Four-disc set includes: Episode IV, A New Hope (Special Edition)--with commentary by George Lucas, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Episode V, The Empire Strikes Back (Special Edition)--with commentary by George Lucas, Irvin Kershner, Lawrence Kasdan, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Episode VI, Return of the Jedi (Special Edition)--commentary by George Lucas, Lawrence Kasdan, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Bonus disc: all-new bonus features, including the most comprehensive feature-length documentary ever produced on the Star Wars saga, and never-before-seen footage from the making of all three filmsSubitles (all material across all four discs): English, Danish, Finnish, Norwegian, Swedish Click here to see detailed information on the special features included on the bonus disc. Amazon.co.uk Review George Lucas's original Star Wars trilogy is a clever synthesis of pop-cultural and mythological references, taking classic fairy-tale themes, adding more than a dash of Arthurian legend, and providing cinematic high adventure inspired as much by Kurosawa's Samurai epics as by Flash Gordon and Buck Rogers. As a result, audiences of all ages can find something to identify with in Luke Skywalker's journey from disaffected teenager dreaming of adventure to Jedi Knight and saviour of the galaxy. He not only rescues a Princess, but discovers she's a close relative. And if there's a lesson to be gleaned from the Skywalker clan, it's that no matter how bad things get in the average dysfunctional family, it's never too late for reconciliation. Originally released in 1977, Star Wars, the first film, was made as a standalone. Perhaps that's why Obi-Wan Kenobi seems a tad inconsistent in his attitude towards his old pupil Anakin Skywalker, and perhaps also why Luke is allowed to develop a guilt-free crush on Princess Leia. Lucas's story, told from the point of view of the two bickering droids (a device taken from Kurosawa's Hidden Fortress), also borrows freely from Errol Flynn's Robin Hood, as does John Williams's seminal Korngold-inspired music score. Thanks in equal part to Leigh Brackett's screenplay and Irvin Kershner's direction The Empire Strikes Back (1980) is the most grown-up instalment in the series. The basic fairy-tale is developed and expanded, with the principal characters experiencing emotional turmoil--blossoming romance, mixed feelings and confused loyalties--amid a very real threat of annihilation as Darth Vader's motivations become chillingly personal. Luke's quasi-Arthurian destiny is complicated still further by the half-truths of his wizardly mentors; and swashbuckler Han Solo finds the past catching up with him, quite literally in the form of bounty hunter Boba Fett. The film is graced by more fabulous landscapes (ice, forest, clouds), more unforgettable new characters (Yoda), more groundbreaking special effects (the asteroid chase), and John Williams's finest score. The difficult third film, 1983's Return of the Jedi, seems schizophrenic in its intentions, hoping to please both the kiddies who bought all the toys and an older audience who appreciated the narrative's epic and mythological strands. The result is a film that splits awkwardly into two. One thread, which might be subtitled "The Redemption of Anakin Skywalker", pursues the story of the Skywalker family to a cathartic conclusion. The other thread, which might be described as "The Care Bears Go to War", attempts to say something profound about primitivism versus technological sophistication, but just gets silly as furry midgets doing Tarzan whoops defeat the Emperor's crack legions. In 1997 Lucas re-released the three original films in digitally remastered "Special Edition" versions, in which many scenes have been restored and enhanced (some would say "unnecessarily tinkered with"). Despite loud and continued criticisms from fans, these Special Editions are now considered definitive, if only by Lucasfilm. --Mark Walker
Nellie Joey Jack Adrian Billy Aveline and Freddie are the Boswells from Liverpool. They're experts at working the system and getting by with the help of Social Security payments and jobs on the side. Standing firm at the head of the family table is Nellie Boswell (Jean Boht) the matriarch who expects no nonsense especially from husband Freddie who spends his time chasing Lilo-Lil. First broadcast in 1986 this release features every episode from Series One and Two of Carla Lane
The film boasts the best of the Bond title songs (this one sung on a dreamy track by Nancy Sinatra), but the movie itself is one of the weaker ones of the Sean Connery phase of the 007 franchise. The story concerns an effort by the evil organisation SPECTRE to start a world war, but the not-so-super villain behind the plot is the awfully civilised Donald Pleasence. The thin script is by Roald Dahl (shouldn't we have expected a better Bond nemesis from the creator of mad genius Willy Wonka?), and direction is by British veteran Lewis Gilbert (Alfie). But the movie can't hold a candle to Dr. No, From Russia with Love, or Goldfinger. --Tom Keogh, Amazon.comOn the DVD: This was another troubled production according to the insightful "making of" documentary: director and producers luckily avoided boarding a plane out of Tokyo that crashed and killed everyone on board; the Japanese actresses couldn't speak English and one threatened suicide if she was dropped from the part; and the aerial cameraman filming the helicopter fight had his leg sliced off by a rotor blade. Maurice Binder's evocative main title designs are the subject of the second documentary, "Silhouettes", in which his colleagues voiceboth their admiration of his art and frustration at his chaotic working practices. The commentary is another edited selection of interviews with principal cast and crew. An animated storyboard sequence, trailers, radio spots and a handsome booklet add up to another winning entry in this series. --Mark Walker
After scoring a hit with the Eddie Murphy-Nick Nolte cop thriller 48 Hours, director Walter Hill returned to the buddy formula with this half-ridiculous, half-invigorating action flick about humourless Russian cop Ivan Danko (Arnold Schwarzenegger). He follows a drug dealer from Moscow to Chicago, where he's matched up with city cop Art Ridzik (James Belushi), whose work ethic is considerably more relaxed. Most of the humour revolves around Danko's grumpy reaction to good ol' American capitalism, while Ridzik urges him to chill out. Red Heat is not bad as action comedies go, but only if you get into the absurd spirit of this predictable fare, in which the unlikely buddies get to wisecrack and act casually while mayhem erupts everywhere they go. Incidentally, Red Heat was the first American film allowed to shoot in Moscow's Red Square. --Jeff Shannon, Amazon.com
Tom Welles (NICOLAS CAGE) is a surveillance specialist--what used to be known as a
From acclaimed director Roman Polanski comes this erotically-charged drama starring Hugh Grant and Kristin Scott Thomas as a respectable married couple. While on a trip to Istanbul they come across Oscar and his young Parisian wife Mimi who take it upon themselves to tell the story of their passionate relationship from its sexual beginnings to its current abusive and spiteful stage.
Drawing from Andrei Tarkovsky's heady science fiction meditation Solaris by way of Alien and Hellraiser, this visually splendid but pulpy piece of science fiction schlock concerns a mission in the year 2047 to investigate the experimental American spaceship Event Horizon, which disappeared seven years previously and suddenly, out of nowhere, reappeared in the orbit of Neptune. Laurence Fishburne stars as mission commander Captain Miller and Sam Neill is Dr Weir, the scientist who designed the mystery ship. Miller's T-shirt-and army-green-clad crew of smart-talking pros finds a ship dead and deserted, but further investigations turn up blood, corpses, dismembered body parts, and a decidedly unearthly presence. It turns out that the ship is really a space-age haunted house where spooky (and obviously impossible) visions lure each of the crew members into situations they should know better than to enter. The ship is gorgeously designed, borrowing from the dark, organic look of Alien and adding the menacing touch of teeth sprouting from bulwark doors and clawlike spikes inexplicably shooting out of the engine room floor. Unfortunately the film is not nearly as inventive as the production design--it turns into a woefully inconsistent psychic monster movie that sacrifices mood for tepid shocks--but the special effects are topnotch, and ultimately the movie has a trashy B movie charm about it. --Sean Axmaker
Thunderbirds Are Go followed the remarkable success of the Thunderbirds television series, bringing the three-dimensional puppet animation adventures of International Rescue to the big screen. Set in the 21st century, there is no attempt to explain the background story: as in the TV show International Rescue is a private family organisation who use hi-tech craft to rescue anyone in peril. Here it is the first manned flight to Mars which is in danger, as International Rescue foils a sabotage attempt at the launch, then race to avert disaster when the spaceship returns to earth. What could have made a 50-minute TV episode is expanded to feature length with Martian "rock monsters" and a surreal dream-sequence involving Alan Tracy, Lady Penelope and "Cliff Richard Jnr" & the Shadows, with a new song performed by the real Cliff and the Shadows. In the cinemas this was competing against another British children's TV SF spin-off, the equally colourful Daleks' Invasion Earth 2150AD, and would be followed by Thunderbird 6 (1968). Yet apart from more complex model work, a bigger orchestra and even bigger explosions, on TV this plays like a widescreen double-length episode. On the DVD: The mono sound is powerful, with Barry Gray's stirring music suffering intermittent distortion. Presented in anamorphic widescreen the picture is very good, with strong colours and only minimal grain, though the print does show occasional damage. Unfortunately the original extremely wide 2.74:1 Techniscope image is cropped to more conventional 2.35:1, to the extent that the careful compositions are noticeably damaged, which director David Lane refers to in his joint commentary with producer Sylvia Anderson (who also played Lady Penelope). 35 years after the event their commentary is packed with details of the filming process and full of information about the many problems of and solutions to making an animated feature. Both Anderson fans and budding animators will find this a real education. The original, rather battered, trailer is included, as are galleries of behind the scenes photos, promotional artwork and posters. Altogether it's rather FABulous. --Gary S Dalkin
Hot on the heels of her acclaimed success in The Good Life Penelope Keith undertook a role that would further confirm her place as one of Britain's leading comic actors: the role of Audrey Fforbes-Hamilton in To The Manor Born. Series One first broadcast in 1979 finds Audrey mourning the death of her husband but more importantly mourning his inability to handle his financial affairs. Forced to sell her beloved Grantleigh Manor she is equally distressed to find it bought by upstart businessman Richard De Vere a man with no concept of the history or the valued place of the Estate in the community. Audrey must roll her sleeves up. It's time for the ex-Lady of the Manor to put the new Lord in his place or vice versa. A battle of wits is about to take place that will find the winner To The Manor Born.
Cockney boys Tom, Soap, Eddie and Bacon are in a bind; they owe seedy criminal and porn king "Hatchet" Harry a sizeable amount of cash after Eddie loses half a million in a rigged game of poker. Hot on their tails is a thug named Big Chris who intends to send them all to the hospital if they don't come up with the cash in the allotted time. Add into the mix an incompetent set of ganja cultivators, two dimwitted robbers, a "madman" with an afro, and a ruthless band of drug dealers and you have an astonishing movie called Lock, Stock and Two Smoking Barrels. Before the boys can blink, they are caught up in a labyrinth of double-crosses that lead to a multitude of dead bodies, copious amounts of drugs, and two antique rifles. Written and directed by talented newcomer Guy Ritchie, this is one of those movies that was destined to become an instant cult classic à la Reservoir Dogs. Although some comparisons were drawn between Ritchie and Quentin Tarantino, it would be unfair to discount the brilliant wit of the story and the innovative camerawork that the director brings to his debut feature. Not since The Krays has there been such an accurate depiction of the East End and its more colourful characters. Indicative of the social stratosphere in London, Lock, Stock and Two Smoking Barrels is a hilarious and at times touching account of friendships and loyalty. The director and his mates (who make up most of the cast) clearly are enjoying themselves here. This comes across in some shining performances, in particular from ex-footballer Vinnie Jones (Big Chris) and an over-the-top Vas Blackwood (as Rory Breaker), who very nearly steals the show. Full of quirky vernacular and clever tension-packed action sequences, Lock, Stock and Two Smoking Barrels is a triumph--a perfect blend of intelligence, humour and suspense. --Jeremy Storey
Featuring a collection of Peter Sellers' best films. Includes: 1. Heavens Above! (Dir. John Boulting & Roy Boulting 1963) 2. I'm Alright Jack (Dir. John Boulting 1959) 3. Only Two Can Play (Dir. Sidney Gilliat 1962) 4. Very Best Of Peter Sellers
"Solomon Kane" is an epic adventure adapted from the classic pulp stories by Robert E. Howard, creator of "Conan the Barbarian."
In 1962 Lawrence of Arabia scooped another seven Oscars for David Lean and crew after his previous epic, The Bridge on the River Kwai, had performed exactly the same feat a few years earlier. Supported in this Great War desert adventure by a superb cast including Alex Guinness, Jack Hawkins and Omar Sharif, Peter O'Toole gives a complex, star-making performance as the enigmatic TE Lawrence. The magnificent action and vast desert panoramas were captured in luminous 70mm by Cinematographer Freddie Young, here beginning a partnership with Lean that continued through Dr Zhivago (1965) and Ryan's Daughter (1970). Yet what made the film truly outstanding was Robert (A Man For All Seasons) Bolt's literate screenplay, marking the beginning of yet another ongoing collaboration with Lean. The final partnership established was between director and French composer Maurice Jarre, who won one of the Oscars and scored all Lean's remaining films, up to and including A Passage to India in 1984. Fully restored in 1989, this complete version of Lean's masterpiece remains one of cinema's all-time classic visions. --Gary S Dalkin On the DVD: This vast movie is spread leisurely across two discs, with Maurice Jarre's overture standing in as intermission music for the first track of disc two. But the clarity of the anamorphic widescreen picture and Dolby 5.1 soundtrack justify the decision not to cram the whole thing onto one side of a disc. The movie has never looked nor sounded better than here: the desert landscapes are incredibly detailed, with the tiny nomadic figures in the far distance clearly visible on the small screen; the remastered soundtrack, too, is a joy. Thanks are due to Martin Scorsese and Steven Spielberg who supervised (and financed) the restoration of the picture in 1989; on disc two Spielberg chats about why David Lean is his favourite director, and why Lawrence had such a profound influence on him both as a child and as a filmmaker (he regularly re-watches the movie before starting any new project). Other features include an excellent and exhaustive "making-of" documentary with contributions from surviving cast and crew (an avuncular Omar Sharif is particularly entertaining as he reminisces about meeting the hawk-like Lean for the first time), some contemporary featurettes designed to promote the movie and a DVD-ROM facility. The extra features are good--especially the documentary--but the breathtaking quality of both anamorphic picture and digital sound are what make this DVD package a triumph. --Mark Walker
A star-studded cast heads this Agatha Christie story of one man's efforts to fathom the mysterious death at a resort hotel in the Mediterranean. Peter Ustinov as Hercule Poirot. Also stars Jane Birkin, Diana Rigg and Maggie Smith. EXTRAS: Making Of Interview with costume designer Anthony Powell Interview with writer Barry Sandler Interview with producer Richard Goodwin Behind the scenes stills gallery Costume designs stills gallery
Doctor Who: Earthshock finds Peter Davison's Fifth Doctor nicely settling into the role, initially displaying some crotchety short temper that harks back to William Hartnell's incarnation of the Doctor, effectively setting up the most emotionally powerful finale in the show's 26-year run. In this, the penultimate adventure of Doctor Who's 19th season, a scientific expedition in a cave system on 25th-century Earth is wiped out. An army rescue unit led by Lieutenant Scott (James Warwick) and including the one woman, Professor Kyle (Claire Clifford) who survived the original massacre, goes in to recover the bodies. The scenario deliberately evokes Ridley Scott's Alien (1979), and uncannily foreshadows James Cameron's Aliens (1986), developing into a tense actioner on a space freighter bound for Earth carrying a very deadly cargo of Cybermen. Tightly paced, refreshingly free of the camp humour that sometimes blighted the show in the 1980s, and with a notable guest turn from Beryl Reid as the ship's captain, Earthshock is one of the Doctor's finest adventures. Overlook a few gaping plot holes and by the end they simply won't matter; when the final credits roll in silence the effect is as powerful now as it was shocking to audiences back in 1981. If only Star Trek: The Next Generation had done the same to Wesley Crusher! On the DVD: Doctor Who: Earthshock is presented in the original broadcast 4:3 with a near flawless picture, though the source videotape does show just the occasional sign of damage. The mono sound is excellent. The extras begin with a strong 32-minute documentary, more retrospective than making-of. Then comes the commentary, with Peter Davison, Janet Fielding (Tegan), Sarah Sutton (Nyssa) and Matthew Waterhouse (Adric), which like so many Who commentaries is both informative and wonderful fun. Both commentary and the episodes have optional subtitles. Other options include detailed on-screen information titles, an isolated musical score, and the ability to watch with selected effects shots replaced with new computer graphics. There's a scored, five-minute photo gallery that even includes a shot from the recording of the commentary, a pointless assemblage of the seven minutes of footage shot on film, and a three-minute clip montage set to a dreadful techno reworking of the title theme to celebrate the show's 40th anniversary. Much more interesting is a 10-minute section from arts review Did You See? looking back on the show's aliens, and including clips from Earthshock, while the very brief Episode 5 is a hilarious new animation. --Gary S Dalkin
Own the best of Mr. Bean, 3 fantastic films in one box set, including Mr. Bean's Holiday, Bean - The Movie and Merry Christmas Mr. Bean.
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