Her marriage on the rocks, Lizzie Cronin (Phoebe Cates) is forced to return to her domineering mother. In desperation, Lizzie calls upon Fred (Rik Mayall), the imaginary friend of her childhood, to help her through this difficult period. But Fred proves to be more hindrance than help - the effects of his actions are far from imaginary and Lizzie must take the blame.
The Mikaelson family tragedies and triumphs continue as hit series THE ORIGINALS enters its third season. The Original vampire-werewolf hybrid Klaus Mikaelson and his brother Elijah have spent one thousand years fighting to protect their dysfunctional family, but now that Klaus and the hybrid Hayley share an infant daughter, Hope, the stakes are higher than ever. In the second season, Klaus and Elijah united against their resurrected mother, Esther, who tortured them with demons from their pasts in an effort to persuade them to surrender their vampire bodies and become mortal. Esther, however, was only the harbinger, as Klaus learned that a long-standing curse had marked Hope for a life of isolation and terror at the hands of Esther's sister, the witch Dahlia, whose defeat came at great cost to the family. Season three finds Klaus and Elijah estranged from each other, even as both brothers adjust to life with their long-lost sister, Freya. Hayley suffers mightily at the hands of Klaus's petty vengeance, while Marcel and Davina rule the city under a new status quo. Meanwhile, Cami and Vincent find themselves caught up in a surprising mystery involving the newest resident of New Orleans -- the first vampire ever sired by the Mikaelsons a thousand years ago.
Take four girls, add some flirting, stir in a quantity of heady rebelliousness, a pinch of risk-taking, several spoonfuls of true friendship and Stella, Jude, Grace and Hannah are born. Four young twenty somethings based in London's Camden Town who just happen to be witches! Lacey Turner (Eastenders, Bedlam), Nina Toussaint-White (Doctor Who, Eastenders), Phoebe Fox (Black Mirror, New Tricks) and Hannah Tointon (The Inbetweeners, Hollyoaks), make up the foursome who play the Witches of Camde...
Created by and starring Phoebe Waller-Bridge (Fleabag), this one-off six-part series, is a very modern comedy about a group of 20-somethings living together as property guardians among the abandoned X-ray machines and hazardous waste of a disused London hospital. Waller-Bridge's Lulu joins her old friend Anthony (Damien Molony), who moved into the hospital with uptight fiancée Kate (Louise Ford) in order to save up for their wedding. Ukulele-playing Lulu is kooky but desperate to fit in, and goes out of her way to make herself popular with the rest of the gang. She and Anthony have history and are just a little too flirty, but Kate tries to play it cool with disastrous results. The other oddball regulars include womanising posh boy Sam (Jonathan Bailey) I'm an estate agent so I'm allowed to be a t*&t who forms an unexpectedly close alliance with shy, excitable Fred (Amit Shah). Then there s duck-out-of-water Colin (Adrian Scarborough), a sullen, middle-aged recent divorcé to whom frustrated young French artist Melody (Julie Dray) takes a shine. Tensions escalate as Lulu's eccentric Great Aunt Gladys (Kathy Burke) drops by with some unconventional assistance, and when the housemates are served an eviction notice. Nothing is quite as it seems as the friends fall in and out of love and deal with their errors, faults, confusion and pain, and each episode brims with brazenly filthy humour, surprising shifts in tone and alarming twists of fate.
After a slow beginning, in which the complex tangle of relationships is initially confusing, this BBC adaptation of Jane Austen's last novel, Persuasion, develops into an elegant romantic comedy. Austin combines a subtle dissection of the folly of class with a slow-burning, intensely passionate love story. Anne Elliot (Amanda Root) has loved Captain Wentworth (Ciaran Hinds) ever since she was persuaded to reject him years before. Now he has returned from the Napoleonic wars, but will love be allowed to blossom? Especially when Anne is surrounded by the selfish, petty-minded Mary, misguided by Lady Russell, and burdened by a father obsessed with fairness of countenance above all other considerations. Excepting a basic booklet, on-screen character biographies and a Dolby Digital soundtrack, there is nothing to distinguish this DVD from the video version. The picture is very good, but showing some grain, not exceptional, so unless you have a large television there is little advantage over tape. In any format, what makes this adaptation work is the sharp screenplay by Nick Dear and the naturalistic style of director Roger Mitchell (who joined the A-list with Notting Hill, 1999), together eliciting fine performances from the ensemble cast. Less flamboyant than Pride and Prejudice (1995), this is a civilised treat. --Gary S Dalkin
This collection brings together the much-loved family films based on the wonderful books written by Julia Donaldson and illustrated by Axel Scheffler. The Gruffalo's Child is the tale of the brave little Gruffalo who ignores her father's warnings and tiptoes out into the snow in search of the Big Bad Mouse. She meets Snake, Owl and Fox but no sign of the fabled Mouse. He doesn't really exist... or does he? Featuring the voices of Helena Bonham Carter, Rob Brydon, Robbie Coltrane, James Corden, Shirley Henderson, John Hurt and Tom Wilkinson. Also available in the collection: The Gruffalo, Room On The Broom, Stick Man, The Highway Rat and Zog.
Fallen women? Does it mean they've hurt their knees? After a decade of soul-saving in Africa Charles Fortescue is asked to minister to the ladies of the night in 1906 London. So Fortescue feeds them shelters them and not infrequently provides them a bed: his! A naive man of the cloth becomes a man of the sheets in this playfully naughty yet always tasteful comedy that stars Monty Python's Michael Palin (who also wrote the script) as Fortescue and features a colourful array of cockeyed characters: a blissful airhead (Phoebe Nicholls) a lusty mission sponsor (Maggie Smith) a bewildered butler (Michael Hordern) an earthy bishop (Denholm Elliott) a cantankerous John Bull (Trevor Howard) and more. Jolly good fun!
All 13 episodes from the fourth season of the American fantasy TV show. This spin-off from 'The Vampire Diaries' follows the Mikaelson vampire siblings, Klaus (Joseph Morgan), Elijah (Daniel Gillies) and Rebekah (Claire Holt), as they battle to retake control of New Orleans, the city they helped to build. In this season, five years on from the Mikaelson's worst defeat, Marcel (Charles Michael Davis) has become the sole vampire king of the city and holds Klaus captive, while his siblings remain in a state of slumber. When they are revived by Hayley (Phoebe Tonkin), the Mikaelsons race to rescue Klaus but find they also have other ancient threats to face. The episodes are: 'Gather Up the Killers', 'No Quarter', 'Haunter of Ruins', 'Keepers of the House', 'I Hear You Knocking', 'Bag of Cobras', 'High Water and a Devil's Daughter', 'Voodoo in My Blood', 'Queen Death', 'Phantomesque', 'A Spirit Here That Won't Be Broken', 'Voodoo Child' and 'The Feast of All Sinners'.
The script for Fast Times at Ridgemont High is based on filmmaker Cameron (Jerry Maguire, Almost Famous) Crowe's time as a reporter for Rolling Stone. He was so youthful looking that he was able to go undercover for a year at a California high school and write a book about it. The film launched the careers of several young actors, including Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates and, above all, Sean Penn. The story line is episodic, dealing with the lives of iconic teen types: one of the school's cool kids, a nerd, a teen queen and, most enjoyably, the class stoner (Penn), who finds himself at odds with a strict history teacher (a wonderfully spiky Ray Walston). This is not a great film but very entertaining and, for a certain age group, a seminal film experience.--Marshall Fine, Amazon.com On the DVD: Amy (Clueless) Heckerling and Cameron Crowe's commentary is revealing and indicative of a time where nudity on celluloid was shocking rather than the norm as they talk about the issues which contributed to the film's original X-rating, as well as all the actors who originally auditioned for the roles. The transfer quality is high with little grain, and although the soundtrack is in mono rather than Dolby 5.1 it is not detrimental to the film. There's a retrospective documentary called "Reliving Our Fast Times at Ridgemont High" featuring new interviews with most of the cast and crew, plus a highly original feature about the locations used in the film, how they looked in 1982 and how they look now. For fact buffs there's the usual mix of biographies, theatrical trailer and production notes.--Kristen Bowditch
It's New Year's Eve and Larry's parents are off to the vicarage dance... totally unaware that their home is about to be the venue for the wildest party ever... Music soundtrack features tracks from numerous leading bands of the 80s including Elvis Costello Madness Modern Romance Bad Manners and Altered Images.
Series 1 & 2 of the hit show, together for the first time in this box set. Hilarious and hurtful, a confession of the modern woman. The extremely talented Phoebe Waller-Bridge (Broadchurch, Crashing) writes and stars in this hugely poignant drama. Making comparisons to Lena Dunham's Girls and based on the award-winning Edinburgh Fringe play by the same name, Fleabag gives a voice to young women around the world, with an unprecedented honesty and emotion that's rarely spoken. Fleabag is a hilarious and poignant window into the mind of a dry-witted, sexual, angry, porn-watching, grief-riddled woman trying to make sense of the world. As she hurls herself headlong at modern living, Fleabag is thrown roughly up against the walls of contemporary London, with all its frenetic energy, late nights and bright lights, in this very modern mix of fatalism and hedonism, sustaining a merry-go-round of broken dreamers. Unfettered and unfiltered, Fleabag tears through the series sleeping with anyone who dares to stand too close, squeezing money from any orifice, rejecting anyone who tries to help her and keeping up the bravado all along. Because that's just the kind of messed-up, normal person she is. By turns hilarious and heart-breaking, this is the thoroughly disarming confessional of a woman so totally detached she's utterly lost, and ultimately wondering what the hell she ought to be doing in life. Much like the rest of us. Includes subtitles for the Hard Of Hearing
Best known for his pioneering Quatermass stories and harrowing adaptation of George Orwell's Nineteen Eighty Four, as well as later TV triumphs like The Stone Tape and The Woman in Black, Nigel Kneale is widely regarded as one of Britain's greatest scriptwriters. Making his name at the BBC in the 1950s, he subsequently wrote acclaimed dramas for ITV over the following decades of which three are presented here. The plays on this set showcase some of Kneale's most enduring themes: a deep sympathy for the plight of the individual facing an unimaginable threat; the unease and paranoia of the Cold War era, and fears of an uncertain near-future; and the volatility and potential menace of the crowd. THE CRUNCH stars Harry Andrews as a prime minister attempting to avert a nuclear catastrophe in London; Maxwell Shaw, Anthony Bushell and Peter Bowles are among his co-stars. LADIES' NIGHT is a chilling story of misogyny as members of a gentlemen's club turn on a woman who ridicules them; a strong cast includes Alfred Burke, Ronald Pickup and Bryan Pringle. GENTRY stars Roger Daltrey in a blackly comic suspense drama in which a couple buy a shabby house in an up-and-coming area but find themselves drawn into the aftermath of an armed robbery.
The Great is a satirical, comedic drama - based on the occasional historical fact - about the rise of Catherine the Great from outsider to the longest reigning female ruler in Russia's history. An idealistic romantic young girl, she arrives from Prussia for an arranged marriage to the mercurial Emperor Peter hoping for love and sunshine, and finds instead a dangerous, depraved, backward world that she resolves to change. All she has to do is kill her husband, beat the church, baffle the military and get the court onside. The series stars Elle Fanning as Catherine, Nicholas Hoult, Phoebe Fox, Adam Godley, Gwilym Lee, Charity Wakefield, Douglas Hodge, Belinda Bromilow and Sacha Dhawan. Features: Bold and the Brash: Inside The Great Palatial Panache: The Style of The Great Gag Reel
When his absent-minded father gives young Billy Pelzer (Zach Galligan) a new pet, he warns him to abide by three rules. The rules get broken, of course, and the pet--a cute Mogwai named Gizmo--unwittingly gives birth to the vicious Gremlins who proceed to terrorise the town. Although the long shadow of Producer Steven Spielberg hangs over Joe Dante's 1984 comedy Gremlins almost as much as it did over Tobe Hooper's Poltergeist (1982), Dante doesn't allow it to overwhelm his own quirky style too much. Glimpses of Robbie the Robot and The Time Machine (which promptly disappears) at an inventors' convention reveal his passion for old-movie references (which culminated with Matinee, 1993). Aided and abetted by Spielberg's guidance and a script by Chris Columbus (who would go on to direct and produce the Home Alone franchise) and a music score by Jerry Goldsmith, Dante had all the help he needed to make the biggest hit of his career. Much of the humour derives from Dante's playful handling of the setting in Smallsville, USA, whose inhabitants are as much the target of his satire as they are of the Gremlins' unwanted solicitations. The xenophobic neighbour who warns prophetically of "gremlins" in foreign cars and machinery provides a subtext for the attack on homely American values, as does showing Invasion of the Body Snatchers on TV while the wicked Gremlins hatch. The sight of the little tykes cavorting in a bar, getting drunk and even dancing in pink leggings looks suspiciously like a satirical dig at the whole 1980's culture of selfishness: with their destructive impulses and overindulgences the Gremlins are the ultimate egotistical yuppies. As with many Spielberg projects, the bland hero saves the day for nostalgic, old-fashioned values, but there are plenty of laughs along the way--for example in the now-classic scene when the hero's mother fights off Gremlins in the kitchen by stuffing them in the blender and microwave. Dante's 1990 sequel is even more satirically pointed, and he effectively remade the original with Small Soldiers (1998), replacing Gremlins with toys. On the DVD: Disappointingly, there are no extra features at all here, aside from subtitles and "interactive menus"--which simply means there is an onscreen menu and it works. --Mark Walker
England 1941. With London in the midst of the blitz two teachers evacuate a group of schoolchildren to the abandoned Eel Marsh House. Seeking safety from the bombs in the remote coastal location the group instead find themselves facing a far deadlier and terrifying evil when their arrival awakens the Woman in Black.
Fill a bowl with alpine strawberries, break out the Château Lafite (1899, of course) and bask in Brideshead Revisited, the 1981 miniseries based on Evelyn Waugh's classic novel, adapted for the screen by John Mortimer (Rumpole of the Bailey). In his breakthrough role, Jeremy Irons stars as Charles Ryder, a disillusioned Army captain who is moved to reflect on his "languid days" in the "enchanted castle" that was Brideshead, home of the aristocratic Marchmain family, whose acquaintance Charles made in the company of an Oxford classmate, the charming wild-child Sebastian. Anthony Andrews costars as the doomed Sebastian, whose beauty is "arresting" and "whose eccentricities and behaviour seemed to know no bounds". The "entitled and enchanted" Sebastian takes Charles under his wing ("Charles, what a lot you have to learn"), but vows early on that he is "not going to let [Charles] get mixed up with [his] family." But mixed up Charles gets. He becomes a friend and confidante, not to mention a lover, to Sebastian's sister Julia (Diana Quick). Meanwhile, the self-destructive Sebastian's life spirals out of control. Brideshead Revisited boasts a distinguished ensemble cast, including Laurence Olivier in his Emmy Award-winning role as the exiled Lord Marchmain, Claire Bloom as Lady Marchmain, and the magnificent John Gielgud as Charles's estranged father. Grand locations and a haunting musical score make this a memorable revisit of an irretrievable bygone era. --Donald Liebenson
In the rolling hills of Wyoming, three mischievous children are tasked with collecting a blueberry pie from their local store. However, what begins as a simple errand soon evolves into an odyssey across the American West, as the intrepid trio faces poachers, witches, huntsmen, and fairies, who all seek to challenge them on their quest. Will the bonds of friendship prove strong enough to guide them home? A fantastical tale billed as the coolest debut from Cannes , this unique neo-fairytale, beautifully shot on 16mm, is an unforgettable concoction of Romanticism, British folklore, and the western genre that celebrates the power of imagination.
Harrison Ford returns to the role of the legendary hero archaeologist for this fifth instalment of the iconic franchise. Starring along with Ford are Phoebe Waller-Bridge ( Fleabag ), Antonio Banderas ( Pain and Glory ), John Rhys-Davies ( Raiders of the Lost Ark ), Shaunette Renee Wilson ( Black Panther ), Thomas Kretschmann ( Das Boot ), Toby Jones ( Jurassic World: Fallen Kingdom ), Boyd Holbrook ( Logan ), Oliver Richters ( Black Widow ), Ethann Isidore ( Mortel ) and Mads Mikkelsen ( Fantastic Beasts: The Secrets of Dumbledore ). Directed by James Mangold ( Le Mans '66, Logan ), the film is produced by Kathleen Kennedy, Frank Marshall and Simon Emanuel, with Steven Spielberg and George Lucas serving as executive producers. John Williams, who has scored each Indy adventure since the original Raiders of the Lost Ark in 1981, is once again composing the score.Product FeaturesThe Making of Indiana Jones and the Dial of Destiny: Chapters 1-5 Chapter 1 - PrologueThe Making of Indiana Jones and the Dial of Destiny: Chapters 1-5 Chapter 2 - New YorkThe Making of Indiana Jones and the Dial of Destiny: Chapters 1-5 Chapter 3 - MoroccoThe Making of Indiana Jones and the Dial of Destiny: Chapters 1-5 Chapter 4 - SicilyThe Making of Indiana Jones and the Dial of Destiny: Chapters 1-5 Chapter 5 - FinaleScore-Only Version of the Movie
Before director Ken Russell's name became synonymous with cinematic extravagance and overkill, he actually directed what is one of the most passionate and involving adaptations of DH Lawrence in recent memory. Oliver Reed and Alan Bates star as friends who fall in love with a pair of sisters (Jennie Linden and Glenda Jackson, who won an Oscar for the role). But the relationships take markedly different directions, as Russell explores the nature of commitment and love. Bates and Linden learn to give themselves to each other; the more withdrawn Reed cannot, finally, connect with the demanding and challenging Jackson. Shot with great sensuality, Women in Love was surprisingly frank for its period (1970) and includes one of the most charged scenes in movie history: Bates and Reed as manly men, wrestling nude by firelight. --Marshall Fine
Before he became an overrated filmmaker, Cameron Crowe (Jerry Maguire) was a reporter for Rolling Stone who was so youthful looking that he could go undercover for a year at a California high school and write a book about it. He wrote the script for this film, based on that book, and it launched the careers of several young actors, including Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates, and, above all, Sean Penn. The story line is episodic, dealing with the lives of iconic teen types: one of the school's cool kids, a nerd, a teen queen, and, most enjoyably, the class stoner (Penn), who finds himself at odds with a strict history teacher (a wonderfully spiky Ray Walston). This is not a great movie but very entertaining and, for a certain age group, a seminal movie experience. --Marshall Fine
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