Laurel (Kazan) has always been the odd wallflower choosing to live at home with her father while her glamorous identical twin Audrey (Kazan) possesses the confidence and appeal to succeed in the big city. When tragedy strikes and Laurel is mistaken for her twin sister she makes the impulsive decision to assume her sister's identity and become The Pretty One. As she eases into her new independent existence Laurel discovers that she's capable of accomplishments she had never before had dreamed of: excelling in a career maintaining friendships and even finding love. Zoe Kazan (Ruby Sparks) Jake Johnson (TV's 'New Girl') and Ron Livingston (Drinking Buddies) star in this quirky comedic drama about family ties and second chances.
Nominated for a Golden Globe, this is the story of the Sicilian town of Bagheria, also known as Baaria. Written and directed by Academy Award-winner Giuseppe Tornatore (CINEMA PARADISO).
In delivering non-18-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular franchises. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel. --Jeff Shannon
In the high-stakes world of political power-brokers, Elizabeth Sloane (Jessica Chastain) is the most sought-after and formidable lobbyist in D.C. Known equally for her cunning and her track record of success, she has always done whatever is required to win. But when she takes on the most powerful opponent of her career, she finds that winning may come at too high a price.
Coasting on the successes of Gods and Monsters and George of the Jungle, Brendan Fraser turns in yet another winning performance in this fish-out-of-water comedy in which Pleasantville meets modern-day Los Angeles, with predictably funny results. Fraser stars as Adam, who was born in the bomb shelter of his paranoid inventor dad (a less-manic-than-usual Christopher Walken), who spirited his pregnant wife (Sissy Spacek, in fine comic form) underground when he thought the Communists dropped the bomb (actually, it was a plane crash). Armed with enough supplies to last 35 years, the parents bring up Adam in Leave It to Beaver style with nary any exposure to the outside world. When the supplies run out, and dad suffers a heart attack, Fraser goes up to modern-day LA for some shopping and long-awaited culture shock. More of a cute premise with lots of clever ideas attached than a fully fleshed out story, Blast from the Past is also supposed to be part romantic comedy, as the hunky Adam hooks up with his jaded Eve (Alicia Silverstone) and tries to convince her to marry him and go underground. The sparks don't fly, though, because Silverstone is saddled with the triple whammy of being miscast, playing an underwritten character, and suffering a very bad hairdo. Fraser, however, carries the film lightly and easily on his broad, goofy shoulders, mixing Adam's gee-whiz innocence with genuine emotion and curiosity; only Fraser could pull off Adam's first glimpse of a sunrise or the ocean with both humour and pathos. Also winning is Dave Foley as Silverstone's gay best friend, who manages to make the most innocuous statements sound like comic gems. -- Mark Englehart, Amazon.com
Whoever wins...we lose. It may be our planet but it's their war! The deadliest creatures from the scariest sci-fi movies ever made face off for the first time on film beginning when the discovery of an ancient pyramid buried in Antarctica sends a team of scientists and adventurers to the frozen continent. There they make an even more terrifying discovery: two unstoppable alien races engaged in the ultimate battle...
Enemy Mine (Dir. Wolfgang Petersen 1985): In this visually stunning sci-fi adventure two warriors engaged in a savage futuristic war between Earth and the planet Dracon crash-land on a desolate fiery planet. At first the human (Dennis Quaid) and his reptilian alien opponent (Louis Gossett Jr.) are intent on destroying each other. But after battling the elements and each other the two stranded pilots gradually realize that the only way either of them will survive is to overcome their undying hatred... Alien Vs Predator (Dir. Paul W.S. Anderson 2004): Whoever wins...we lose. It may be our planet but it's their war! The deadliest creatures from the scariest sci-fi movies ever made face off for the first time on film beginning when the discovery of an ancient pyramid buried in Antarctica sends a team of scientists and adventurers to the frozen continent. There they make an even more terrifying discovery: two unstoppable alien races engaged in the ultimate battle...
Based on the childhood memoirs of Marcel Pagnol, author of Jean de Florette and Manon des Sources, Yves Robert's La Gloire de Mon Pre and its sequel Le Chteau de Ma Mre are two of the most loved and successful French films ever made.An adult Marcel nostalgically recalls idyllic retreats with his family to the hills of Provence. A love affair with the country began and during those perfect days he found new respect for his school-teacher father as he adapted to life away from the city, while the long journey there would soon bring its own adventures.Together these timeless classics stand as one of cinema's greatest celebrations of childhood, filled with warmth, love and a poignant nostalgia for bygone days they continue to captivate audiences.
Alien Vs. Predator - Steelbook Edition Special Finishes Include: Matt Finish Emboss on one Side. The deadliest creatures from the scariest sci-fi movies ever made face off in Alien vs. Predator now available as a Blu-ray Steelbook. The adventure begins when scientists investigate an ancient pyramid buried in Antarctica. But they soon make an even more terrifying discovery: two alien races engaged in an all-out war. And whoever wins... we lose.
Frankie Delano is the trusted right-hand man and loyal bodyguard of mafia kingpin Angelo Allieghieri. When Angelo is assassinated by an old gangland foe Frankie vows to protect the life of his boss's only daughter Jennifer. Having been adopted at an early age in order to hide her existence from Angelo's murderous enemies Jennifer has no idea she is really the daughter of the late mobster. Despite the assurances of Frankie and her step-parents Jennifer refuses to believe Angelo was her father. Her reluctance to accept the truth soon changes however when an attempt is made on her life while she is shopping in a busy department store.
Tin Man is a modern science fiction update of L. Frank Baum's timeless The Wonderful Wizard of Oz nominated for 9 Emmy Awards. When a sorceress named Azkadellia scorches the once-beautiful land of OZ into a desolate wasteland the only hope lies in an outsider named DG a young Midwestern woman whose troubling dreams have summoned her to the doomed paradise. D.G. embarks on a journey to find the great mystic man to save the O.Z. and on her way she befriends a scarecrow named Glitch a tin cop named Cain and gentle manimal named Raw.
When a couple bring their dead child back to life through an experimental cloning process, they're not prepared for their new, much altered son. Chilling horror starring Robert De Niro, Greg Kinnear and Rebecca Romijn-Stamos.
Desire knows no bounds... 1943 Italy: In the darkest days of the war a young baker's apprentice suddenly murders his employer before taking to the empty midnight streets frantically searching for someone or something...a haunting image of passion rage and desperation. Sixty years later: Passion seems to be missing from the life of Giovanna (Giovanna Mezzogiorno) a young wife and mother of two who appears to have found some sense of domestic peace. Her husband Filippo (F
Beyblade is an animé tie-in to the high-tech spinning top toys. It has some of the standard faults of the cheaper Japanese animations--such as static backgrounds and overly perky facial design--but it makes inventive use of the idea that the competitions of the Beybladers are the outward manifestation of more occult conflicts in another realm. Young Tyson is a keen and inventive Beyblader--in the first episode, he works out a way of quadrupling the speed and force of his top--but it helps that his Beyblade is inhabited by the spirit of an ancestral dragon. Thus equipped, he moves through one round after another of an international competition, sometimes in alliance with the haughty Kai and his gang and sometimes opposing them, and always helped by Kenny and Dizzi, the spirit beast that inhabits Kenny's laptop. How much of this you want to watch will ultimately depend on how many duels between spinning tops you are going to be interested in, but the byplay between physical and spirit realms, and the conflict of characters is moderately interesting as well. On the DVD: Beyblade, Volume 1 comes with stereo sound and a visual aspect ratio of 4:3. The special features are limited to promotional material for the Beyblade tops, including quizzes and guides to customising. --Roz Kaveney
Godsend: Following the death of their eight-year-old son Adam devastated parents Jessie (Rebecca Romijn-Stamos) and Paul (Greg Kinnear) are desperate to do anything to resurrect their beloved child. Befriended by a doctor at the forefront of genetic research (Robert De Niro) they are offered a chance to reverse the rules of nature and clone their son. The experiment appears successful under the doctor's watchful eye and Adam grows into a healthy happy young boy. Until his e
One of the earth-shaking feature debuts in the history of cinema Maurice Pialat's L'Enfance-nue (Naked-Childhood) provides a perspective on growing-up that rejects both sentimentality and modish cynicism. Its unflinching but also warmly accommodating outlook on childhood attracted Fran''ois Truffaut to take on the role as co-producer of Pialat's film - which ironically exists as much as a response to Truffaut's own debut The 400 Blows as that film was to the 'cinema of childhood' that came before the New Wave. First-time actor Michel Tarrazon plays the young Fran''ois a provincial orphan whose destructive behaviour precipitates his relocation from the home of a long-term foster family to the care of a benevolent elderly couple. In the course of this transition Pialat's film presents the turbulence of Fran''ois's unmoored existence and his explosive reactions to the contradictory emotions it engenders. This is the naked portrait of a soul's - and an entire society's - dysfunction before the moment of reconciliation. L'Enfance-nue represents the ideal introduction to the films of Maurice Pialat - an artist whose work resides alongside that of Jean Eustache and Philippe Garrel at the summit of the post-New Wave French cinema. One discovers in his pictures a raw and complicated emotional core which as in the films of John Cassavetes reveals upon closer examination a remarkably rigorous visual aesthetic and a facility of direction which lifts both seasoned actors and debutante amateurs to the level of greatness. Coupled here with Pialat's poetic and brilliant early short L'Amour existe (Love Exists 1960) L'Enfance-nue is the first masterpiece of an artist whose work has had an incalculable influence on contemporary directors as diverse as Bruno Dumont Olivier Assayas Michael Haneke and the Dardenne brothers among others - and whose 2003 passing led Gilles Jacob president of the Festival de Cannes to declare: Pialat is dead and we are all orphaned. French cinema is orphaned.
In delivering non-18-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular franchises. Rabid fans can justifiably ask: "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right ! up to his shameless opening for yet another sequel.--Jeff Shannon
Whoever wins...we lose. It may be our planet but it's their war! The deadliest creatures from the scariest sci-fi movies ever made face off for the first time on film beginning when the discovery of an ancient pyramid buried in Antarctica sends a team of scientists and adventurers to the frozen continent. There they make an even more terrifying discovery: two unstoppable alien races engaged in the ultimate battle...
In order to take over the city corrupt police commander Forrester intends to use a telepathic breed of human Scanners. To control the Scanners Forrester enlists the help of evil scientist Dr Morse who wants to conduct mind control experiments on the Scanners with a new drug. Unfortunately the side effects render the Scanners incapable so Forrester finds David Kellum a good rational Scanner who unaware of his own powers agrees to work with him.
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