Franc Roddam's terrifically energetic movie, set to music from the Who's Quadrophenia, is--at the very least, the best film ever based on a rock album (and, yes, that includes Tommy, Pink Floyd: The Wall, and Jesus Christ Superstar). Actually, this tale of the battle between two early 1960s youth subcultures--Mods and Rockers--in the seaside teenage wasteland of Brighton, isn't so much a cinematic "version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. Quadrophenia is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock. The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. --Jim Emerson
A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive
Dawson (James Van Der Beek) returns to Boston after working as an assistant director in Los Angeles over the summer and reunites with Joey (Katie Holmes) who has spent a relatively angst-free summer in Capeside. However there are plenty of obstacles to overcome for the long-time star-gazers. Meanwhile Pacey is trying to make it in the world of business without selling his soul; Jack worries that Professor Freeman might be aware of his crush; and could Audrey have developed a drin
""We are the mods we are the mods we are we are we are the mods!"" London 1964: two rival youth cults emerge - the mods and the rockers - with explosive consequences. For Jimmy (Phil Daniels) and his sharp-suited pill-popping scooter-riding mates being a mod is a way of life. It's their generation. Together they head off to Brighton for an orgy of drugs thrills and violent confrontation against the rockers. Jimmy never wants to stray from his maxim: ""I don't wanna be like everybody else that's why I'm a mod see?"" Will Jimmy emerge a hero or will he be disillusioned by his way of life?
Set in rural Northumberland during the 1830's this Catherine Cookson series tells of Cissie Brodie's struggle to keep the family intact when the sudden death of her parents causes them to be evicted from their cottage...
It's goodbye to Capeside, hello to Boston in Dawson's Creek's fifth season (a.k.a.: Dawson's Creek: The College Years). While the end of the fourth season sent the five friends their separate ways--Dawson (James Van Der Beek) to USC Film School, Joey (Katie Holmes) to Wilmington College, Jen (Michelle Williams) and Jack (Kerr Smith) to Boston Bay College; and Pacey (Joshua Jackson) to the high seas--it doesn't take them long to find themselves together again. That's a good thing, especially when tragedy strikes a family member and threatens to tear the survivors apart. More than anything, the fifth season seems to be about falling into bad relationships. Jen dates a cute but sleazy musician (Chad Michael Murray), Pacey gets a job in a restaurant where he pursues a woman (Lourdes Benedicto) already having an affair with a married man, then fends off a vampish new boss (Sherilyn Fenn, Twin Peaks). Joey is drawn to her handsome English professor (Ken Marino). And Jack joins a frat, becomes a jerk, and starts a devoted relationship with his beer bottle. Dawson meets an eccentric young filmmaker (Jordan Bridges) which in turn leads to a meeting with his favorite Boston film critic (Meredith Salenger). And Joey's new roommate, the annoyance-with-a-heart-of-gold Audrey (Busy Phillipps), becomes the newest major addition to the cast. The irritation factor is high this season, a couple of "Joey is threatened" interludes don't have the punch that they could have, and in the season finale, the inevitable resolution of the show's central relationship doesn't really resolve anything at all. But viewers who have followed the Capeside crew for four seasons will still want to see what happens in the fifth. The fifth season is the first to have no DVD extras at all, and it continues the music-replacement strategy (which, since the second season has replaced much of the music, and since the third season has replaced Paula Cole's theme song, all due to licensing expenses). In addition to the usual background-music switches, some scenes have been edited (for example, the episode "Highway to Hell" has cut two of the performances on-stage at the Drunk & Dead). Also, the opening credits of "The Long Goodbye" and "Downtown Crossing" had originally used instrumental versions of "I Don't Want to Wait," which had underscored the emotion of those episodes. In the DVD set, those have been replaced by the standard version and an instrumental version, respectively, of "Run Like Mad." --David Horiuchi, Amazon.com
Featuring many of The Fast Show's finest this series was created and scripted by Rhys Thomas one of the writers behind Swiss Toni - Rhys also played alongside the titular car dealer as his long-suffering apprentice Paul. Welsh funeral directors Ivor Arwell Percy and Gwynne Thomas run a family business that should be doomed to failure. For a start the boss and father of the clan Ivor is scared of dead bodies and socially inept to such a degree that his wife ran o
When Will’s father is killed by a dragon, Will leaves his once-idyllic home in the mountains to hunt down the beast. The trail of slaughter leads him on an epic journey across the lowlands. When he reaches an ancestral home, he finds others who know about the dragon and stays to work for the tyrannical Sterling in order to learn how to slay the beast.Will is befriended by Sterling’s daughter Kate, and she prepares him for the final battle with the dragon. But Sterling, threatened by Will, orders his men to kill the young squire. Will manages to escape with his life, but he must risk everything to destroy the dragon so that can avenge his father’s death and prove himself a man.
Ace Lightning follows the adventures of thirteen-year-old Mark Hollander and his superhero friend Ace Lightning! Newly arrived in North America from England Mark is playing his favourite 'Ace Lightning' video game when he discovers a level that shouldn't exist. While exploring the secret level lightning strikes Mark's house and electricity courses through the console bringing the game's characters to life. Believing the real world is another level of the video game the game's hero
When Will's father is killed by a dragon, Will leaves his once-idyllic home in the mountains to hunt down the beast. The trail of slaughter leads him on an epic journey across the lowlands. When he reaches an ancestral home, he finds others who know about the dragon and stays to work for the tyrannical Sterling in order to learn how to slay the beast.Will is befriended by Sterling's daughter Kate, and she prepares him for the final battle with the dragon. But Sterling, threatened by Will, orders his men to kill the young squire. Will manages to escape with his life, but he must risk everything to destroy the dragon so that can avenge his father's death and prove himself a man.
A fifty-minute animated version of the Dylan Thomas classic. The work complements the original BBC sound-track which features the voice of Richard Burton. With music composed by Trevor Herbert.; ; 'To begin at the beginning. It is spring, moonless night inthe small town, starless and bible-black, the cobblestreets silent and the hunched, courters'-and-rabbits' wood limping invisible down to the sloeblack, slow, black, crowblack fishingboatbobbing sea...'
""We are the mods we are the mods we are we are we are the mods"" London 1964: two rival youth cults emerge - the mods and the rockers - with explosive consequences. For Jimmy (Phil Daniels) and his sharp-suited pill-popping scooter-riding mates being a mod is a way of life. It's their generation. Together they head off to Brighton for an orgy of drugs thrills and violent confrontation against the rockers. Jimmy never wants to stray from his maxim: ""I don't wanna be
Cary Grant teams with Hitchcock for the fourth and final time in this superlative espionage caper judged one of the American Film Institute's Top 100 American Films and spruced up with a new digital transfer and remixed Dolby Surround Stereo. Grant plays a Manhattan advertising executive plunged into a realm of spy (James Mason) and counterspy (Eva Marie Saint) and variously abducted framed for murder chased and in another signature set piece crop-dusted. He also holds on for dear life from that famed carved rock (for which back lot sets were used). But don't expect the Master Of Suspense to leave star or audience hanging...
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