It's everybody's non-pollutionary anti-institutionary pro-confectionery factory of fun! Thirty-five years after this merry movie charmed audiences with a colourful mix of song humour and life lessons the Candy Man still wields magic especially now in a vibrant new print with a soundtrack in true stereo. From the classic Roald Dahl story comes a lip-smacking delight with jolly tunes among them The Candy Man and Pure Imagination. With a golden ticket young Charlie Bucket (Peter Ostrum) wins a tour of the factory of wily mogul Wonka (Gene Wilder) and run by his Oompa-Loompa crew. There Charlie his Grandpa Joe (Jack Albertson) and others discover a kind heart is a finer possession than a sweet tooth. Don't let the tour leave without you!
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
The crew of the Helios are on a high-risk mission to investigate a massive solar flare that is threatening the very existence of the Earth in this super-charged sci-fi adventure that's packed with dazzling special effects and deep space suspense. The ship is carrying a probe loaded with an anti-matter bomb that has to be shot into the heart of the Sun and if successful will trigger the mega-flare in a direction safely away from the Earth. It's a high risk undertaking to disturb a galactic body as powerful as the Sun a risk increased by saboteurs who are determined to thwart the mission by planting a traitor on the spacecraft.
""I am become Death destroyer of worlds..."" - J. Robert Oppenheimer A thrilling miniseries biopic of American physicist J. Robert Oppenheimer who led the U.S efforts during World War II to develop the atomic bomb only to find himself suspected as a risk to national security from Communist sympathies stemming from an increasing ambivalence toward's his life's work... Nominated for a Golden Globe for Sam Waterston in the title role.
Computer operator Terry Dolittle (Goldberg) becomes involved in international espionage when a desperate message from a British Intelligence officer appears on her computer terminal...
M Night Shyamalan's The Sixth Sense sets itself up as a thriller, poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. Many critics faulted the film for being mawkish and New Agey, but no matter how you slice it, this is one mightily effective piece of filmmaking. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, one that forsakes excessive gore for a sinisterly simple feeling of chilly otherworldliness. Bruce Willis is in his strong, silent type mode here, and gives the film wholly over to Haley Joel Osment, whose crumpled face and big eyes convey a child too wise for his years; his scenes with his mother (Toni Collette) are small, heartbreaking marvels. And even if you figure out the film's surprise ending, it packs an amazing emotional wallop when it comes; it will have you racing to watch the movie again with a new perspective. You may be able to shake off the sentimentality of The Sixth Sense, but its craftsmanship and atmosphere will stay with you for days. --Mark Englehart
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
Devoted womaniser and tireless party-goer Arthur Goring (Rupert Everett) is famed throughout London for his elegance, repartee and refusal to take anything seriously.
Tim Allen makes an impressive screen debut in Disney's well-written seasonal film The Santa Clause. Divorced toy company executive Scott Calvin is pleased to have his son Charlie for Christmas, though the boy himself isn't happy about it. But when Santa Claus accidentally topples off the roof of the house and falls with a thud in the snow, Scott finds himself taking the merry old elf's place and earning new respect in his son's eyes. When the night ends, the reindeer take them to the North Pole, and Scott discovers that by donning the fabled red suit, he's inadvertently agreed to become the next Santa Claus. The next morning he wakes up in his own bed and thinks it's all a dream--but Charlie remembers it with crystal clarity. Scott now has to deal with his suspicious ex-wife (Wendy Crewson) and her psychiatrist boyfriend (Judge Reinhold), who both think he's playing tricks with Charlie's mind, and also with his own out-of-control body, which is putting on weight and growing a prodigious beard. The Santa Clause probably won't supplant It's a Wonderful Life or Miracle on 34th Street as anyone's favourite Christmas viewing, but it's an enjoyable, straightforward family film, anchored by the affable charisma of Allen. --Bret Fetzer
Since it's first publication in 1908 Kenneth Grahame's THE WIND IN THE WILLOWS has become a best-seller throughout the world. In this unique film the award-winning animators of Cosgrove Hall have brought Grahame's characters Badger Mole Ratty and the flamboyant Toad of Toad Hall magically to life in a beautiful Edwardian country scene. Join these four lively characters in a wonderful production that captures all the fun and enchantment of a fairy tale adventure.
In revealing the strength of the marriage which left Queen Victoria so devastated as a widow, the colourful costume drama Victoria and Albert could almost serve as a prequel to the film Mrs Brown. In common with that dramatisation, this TV drama features performances (and cameos) from some of Britain's finest actors, this time including Jonathan Pryce, David Suchet, Penelope Wilton, Peter Ustinov, Richard Briers and the wonderful Nigel Hawthorne as Lord Melbourne. Victoria Hamilton and Jonathan Firth are the impressive leads who command the viewer's attention through the lengthy process of turning Albert and Victoria's arranged marriage into a love story, from their first inauspicious meetings, to Albert's dissatisfaction over the impotence of his position. Concentrating as it does on Victoria's early reign means the drama does tend to skip over the couples' later years with their children and disappointments over their heir, Bertie, but overall this story has all the romance, settings, make-up and wigs of a fine costume drama. On the DVD: Victoria and Albert comes as a two-disc set that features an informative 25-minute "making of" documentary presented by the producer, that includes contributions from the Screenwriter, Director, stars Jonathan Firth and Penelope Wilton, and the Director of Photography. The filmographies are somewhat abridged but the Victoria Timeline is interesting for those wanting to learn more about the authentic history of events. --Rachel Ediss
PART MAN, PART MACHINE, ALL COP. RoboCop, from Orion Pictures, marked director Paul Verhoeven's (Flesh + Blood) Hollywood debut and instantly became an enduring sci-fi/action classic when it landed in theatres in the summer of 1987. Verhoeven's peerlessly exciting and kinetic visuals were matched by a sharp script, iconic cast and exceptional special effects by Rob Bottin (The Thing) and Phil Tippett (The Empire Strikes Back). The film takes place in Detroit in the not-too-distant future. Heroic cop Alex Murphy (Peter Weller, The Adventures of Buckaroo Banzai) is gunned down in the line of duty, only to be resurrected as RoboCop a cybernetic mix of spare human parts and Motor City steel, and the latest defense against crime designed by the all-powerful OCP Corporation. As RoboCop's memories of his former life as Murphy resurface, only his ex-partner (Nancy Allen, Dressed To Kill) stands beside him to fight against the vicious thugs responsible for his death, as well as a nefarious top-level OCP executive orchestrating the chaos from above. Unsurpassably thrilling, unexpectedly moving and unforgettably hilarious in equal measure, the future of law enforcement is back in a definitive Blu-ray⢠presentation packed with hours of brand new bonus features and exclusive collectable packaging. Limited Edition Contents: 4K restoration of the film from the original camera negative by MGM, transferred in 2013 and approved by director Paul Verhoeven Newly commissioned artwork by Paul Shipper Director's Cut and Theatrical Cut of the film on two High Definition (1080p) Blu-ray⢠discs Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 surround sound option on both cuts Optional English subtitles for the deaf and hard of hearing on both cuts Six collector's postcards (Limited Edition exclusive) Double-sided, fold-out poster (Limited Edition exclusive) Reversible sleeve featuring original and newly commissioned artwork Limited edition collector's booklet featuring new writing on the film by Omar Ahmed, Christopher Griffiths and Henry Blyth, a 1987 Fangoria interview with Rob Bottin, and archive publicity materials (some contents exclusive to Limited Edition) Disc One Director's Cut Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for the Theatrical Cut and re-edited in 2014 for the Director's Cut) New commentary by film historian Paul M. Sammon New commentary by fans Christopher Griffiths, Gary Smart and Eastwood Allen The Future of Law Enforcement: Creating RoboCop, a newly filmed interview with co-writer Michael Miner RoboTalk, a newly filmed conversation between co-writer Ed Neumeier and filmmakers David Birke (writer of Elle) and Nick McCarthy (director of Orion Pictures' The Prodigy) Truth of Character, a newly filmed interview with star Nancy Allen on her role as Lewis Casting Old Detroit, a newly filmed interview with casting director Julie Selzer on how the film's ensemble cast was assembled Connecting the Shots, a newly filmed interview with second unit director and frequent Verhoeven collaborator Mark Goldblatt Composing RoboCop, a new tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger and Robert Townson RoboProps, a newly filmed tour of super-fan Julien Dumont's collection of original props and memorabilia 2012 Q&A with the Filmmakers, a panel discussion featuring Verhoeven, Davison, Neumeier, Miner, Allen, star Peter Weller and animator Phil Tippett RoboCop: Creating a Legend, Villains of Old Detroit and Special Effects: Then & Now, three archive featurettes from 2007 featuring interviews with cast and crew Paul Verhoeven Easter Egg Four deleted scenes The Boardroom: Storyboard with Commentary by Phil Tippett Director's Cut Production Footage, raw dailies from the filming of the unrated gore scenes Two theatrical trailers and three TV spots Extensive image galleries Disc Two Theatrical Cut Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film) Two Isolated Score tracks (Composer's Original Mix and Final Theatrical Mix) in lossless stereo Edited-for-television version of the film, featuring alternate dubs, takes and edits of several scenes (95 mins, SD only) Split screen comparison of Theatrical and Director's Cuts RoboCop: Edited For Television, a compilation of alternate scenes from two edited-for-television versions, newly transferred in HD from recently-unearthed 35mm elements
In this big-screen version of the Saturday-morning animated series, the school year is finally over, and T J Detweiler is looking forward to a fun-filled summer. Boredom quickly sets in until T J uncovers a scheme to do away with summer vacation.
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)
Jodie Foster won her first Oscar for her role in The Accused (1988), based on an actual incident. While out for a night of fun at a poolroom, before her character knows what's happening she finds that the men she's been flirting with have pinned her down for a gang rape. The story centres on the efforts of a district attorney (Kelly McGillis) to press her case, in spite of a wall of silence by the participants--and then to take the unusual step of going after the witnesses as accomplices. Foster is outstanding as a tough, blue-collar woman who persists in what seems like an unwinnable case, despite the prospect of character assassination for standing up for herself. --Marshall Fine
Three full-length feature films from the popular 'Babylon 5' science fiction series. Third Space (1998) When a mysterious artefact found discarded in hyperspace is recovered and brought back to the station for analysis the crew aboard Babylon 5 face an unexpected threat. Sinister mind altering thoughts take hold through foreboding dreams of a towering structure and giant ships as questions fly surrounding the origin of their discovery. Scientists battle against the clock to
United Kingdom released, Blu-Ray/Region A/B/C DVD: LANGUAGES: English ( Dolby Digital 2.0 ), English ( Dolby Linear PCM ), English ( Mono ), WIDESCREEN (1.78:1), SPECIAL FEATURES: Blu-Ray & DVD Combo, Cast/Crew Interview(s), Interactive Menu, Making Of, Photo Gallery, Scene Access, Trailer(s), SYNOPSIS: Hardly the best of Hammer Studios' Frankenstein epics, The Evil of Frankenstein is too much the mixture as before to be truly memorable. Back in business once more is Baron Frankenstein (Peter Cushing), who finds his fabled monster (Kiwi Kingston) frozen in a block of ice. Once the creature is thawed out, the Baron, worried that the big lug might develop a mind of his own, engages the services of a hypnotist (Peter Woodthorpe). Instead of keeping the monster docile, the hypnotist decides to use old "Frankie" for his own evil designs, and we're off and running again. At 84 minutes, Evil of Frankenstein was too short for a two-hour network TV slot, so Universal (the film's American distributor) tacked on 13 minutes of pointless additional footage, featuring timorous villagers Steven Geray, Maria Palmer and William Phipps. The film was followed by a vastly superior sequel, Frankenstein Created Woman. ...The Evil of Frankenstein (Blu-Ray & DVD Combo) (Blu-Ray)
O'Toole stars as a fashion editor in Paris who is constantly surrounded by beautiful women - a leggy American stripper a blonde daredevil and a neurotic nymphomaniac. The problem is that they all find him irresistable which makes it almost impossible for O'Toole to settle down with his marriage-minded girlfriend. Woody Allen makes his film debut as O'Toole's sex-starved friend who would kill to have such problems! Peter Sellers in a dazzlingly demented performance plays a famed ps
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and storylines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep down, sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whately's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter said he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
p>Once hounded from his castle for creating a monstrous living creature, Baron Frankenstein returns to his ancestral home in Karlstaad, determined to continue his experiments into the creation of life. High in the mountains, Frankenstein and his faithful assistant, Hans, stumble on the body of the creature, perfectly preserved in ice. He is brought back to life, but Frankenstein is forced to employ a hypnotist, Zoltan, to complete the process. Unbeknown to Frankenstein, Zoltan now controls the creature and has plans to use him to rob and pillage the local villages. Can Frankenstein break Zoltan's hypnotic spell, or will Zoltan induce the creature. Product Details The Making Of The Evil Of Frankenstein- Narrated By Edward De Souza & Featuring Interviews With Wayne Kinsey, Caron Gardner, Hugh Harlow, Pauline Harlow, Peter Cushing And Don Mingaye. Stills Gallery Theatrical Trailer A Moment With Caron Gardner
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