The complete second series of the hugely popular army drama. These seven episodes see the King's Fusiliers on location in Hong Kong.
Originally shown on the big screen in glorious 70 mm, Terrence Malick's Days of Heaven is an aesthetically flawless eye-catching period piece that won its cinematographer, Néstor Almendros, an Oscar. Texture and colour are the unbilled characters in this tragic tale, and are just as important as the players. Richard Gere works in a Chicago steel mill at the turn of the 19th century, but must flee the city after accidentally killing a man. Heading for the wheat fields of Texas, he packs up his girlfriend (Brooke Adams) and his younger sister (Linda Manz). Instead of a better life, they head straight into tragedy when a wealthy farmer (Sam Shepard) falls for Adams. Believing him to be dying and expecting to inherit a fortune, she agrees to marry him. Their plans change when Shepard fails to die and Gere takes matters into his own hands. The story, sadly, fades somewhat when compared to the glory of the visuals. --Rochelle O'Gorman
The deserts of Alice Springs and the delights of Sun City are just some of the dramatic sights waiting to greet the men of the King's Own Fusiliers in this top-ranking award-winning series. The nation's best-loved regiment go on duty to in Australia join the new integrated army in South Africa and demonstrate weapons back in the UK. Stars Robson Green and Jerome Flynn are back as squaddie favourites Fusilier Dave Tucker and Sergeant Paddy Garvey along with Rosie Rowell as Tuck
When Brandon Teena, a young man with an infectious, aw-shucks grin and an angelic face that's all angles, wanders into Falls City, Nebraska, he takes to the town as if it's a second skin. In little time he's fallen in with a gang of goofy if temperamental redneck boys, found himself a girlfriend, and befriended enough people to form something of a small family. In fact, it's the best time Brandon's ever had. However, there are shadows looming over Brandon's life: a court date for grand theft auto, a chequered criminal record, and a seemingly innocuous speeding ticket that could prove to be his undoing. Why? Because as it turns out, Brandon Teena is actually Teena Brandon, a woman masquerading as a man. This fascinating story was based on real-life events (as documented in The Brandon Teena Story) that occurred in 1993 and ended in tragedy: Brandon's rape and murder by two of his supposed friends. Despite this horrible outcome, however, in the hands of director Kimberly Peirce (who co-wrote the unfettered screenplay with Andy Bienen), Brandon's story becomes not oppressive or preachy, but rather oddly and touchingly transcendent, anchored by Hilary Swank's phenomenal, unsentimental (and Oscar-winning) performance. Swank inhabits Brandon's contradictions and passions with a natural vitality most actresses would refuse to give themselves over to. Brandon's deception is doomed from the start, but Swank's enthusiasm is infectious, and when Brandon starts romancing the sloe-eyed Lana (a pitch-perfect Chloë Sevigny), he finds a soulmate who wants to transcend boundaries and fated identities as much as he does. The last part of the film, when Brandon's true identity is discovered, is truly painful to watch, but in between the agony there are touching moments of sweetness between Brandon and Lana, who wrestles with the truth of who Brandon actually is. You'll come away from Boys Don't Cry with affection and respect for Brandon, not pity. --Mark Englehart, Amazon.com
At first, this behind-the-scenes documentary about professional wrestling seems as if it will be an unabashed fan's whitewash of the increasingly bizarre and popular world of "sports entertainment", as it is known. But director Barry Blaustein (a Saturday Night Live veteran who has co-written many of Eddie Murphy's films) goes much deeper than you'd expect in a film that is at once entertaining and disturbing. By focusing on a trio of wrestlers who give him surprising access, Blaustein uncovers human stories that can be wrenching in their stark honesty. That's particularly true of one-time superstar Jake "the Snake" Roberts, whose career has fallen on hard times because of a crack habit; Roberts brings Blaustein along for his first encounter in several years with his grown, estranged daughter. Blaustein also goes into the lives of Terry Funk and Mick "Mankind" Foley in ways that are both revealing and, at times, upsetting. More than just a fan's appreciation, this is that rare documentary that shows you sides of a familiar subject you never knew existed. --Marshall Fine, Amazon.com
Mean Streets heralded Martin Scorsese's arrival as a new filmmaking force - and marked his first historic teaming with Robert De Niro. It's a story Scorsese lived a semi-autobiographical tale of first-generation sons and daughters in New York's Little Italy. Harvey Keitel plays Charlie working his way up the ranks of a local mob. Amy Robinson is Teresa the girlfriend his family deems unsuitable because of her epilepsy. And in the starmaking role that won Best Supporting Actor Awards from the New York and National Society of Film Critics De Niro is Johnny Boy a small-time gambler in big-time debt to the loan sharks.
NOTICE: Polish Release, cover may contain Polish text/markings. The disk DOES NOT have English audio and subtitles.
Halfway through A New Nightmare Heather Langenkamp goes to visit Wes Craven to discuss resurrecting the Freddy Krueger series for one last film. Craven's script focuses on a malevolent demon that has escaped from the stories in which he was trapped because they have lost their power to scare. Sound familiar? This script-within-a-film refers, of course, to the real-life fate of the Nightmare on Elm Street series, and is an idea typical of this intelligent movie which successfully blurs the line between this horror film and its real-life production context. Langenkamp plays herself, in virtually her own life: a D-list actress unable to match the success she found in the original Nightmare on Elm Street films. She, like the rest of the cast and crew of the original films (also played by themselves--most notably Craven and Robert Englund, camping himself up as an adored celebrity and part-time "artist"), is haunted by dreams of the Freddy Krueger character. Craven's script reveals that if Freddy is not trapped within a story more powerful than the Elm Street sequels--i.e. this film--he will become real.New Nightmare is an interesting precursor to the Scream series, and it attempts to capitalise on its self-reflexivity in a similar way. The idea is that, having openly revealed that the rest of the Elm Street series were "only films", New Nightmare can then set about scaring your pants off. The biggest hindrance, however, is the Freddy character himself. Despite the fact that we are told that this is the "real" Freddy, rather than the cinematic incarnation we've seen many times before it is still difficult to shake off a persistent sensation of déja-vu. Freddy just isn't scary any more: his face looks a lot less gnarled than it used to be and even the once-terrifying claw seems to have lost its edge. Similarly, having hammered home the fact that this movie is real, those elements of the film which require a little more imagination--such as Freddy's body-stretching, the surreal scare sequences and the Gothic-fantasy finale--appear absurd. Thus, if certainly not as good as the original, New Nightmare is at least an intelligent, fresh and occasionally scary film: which makes it head and shoulders above most of its genre and certainly better than most of this series. --Paul Philpott
This remake of the 1970s action comedy stars Vinnie Jones as Danny Meehan, the disgraced ex captain of the English football team who ends up in prison, where he is made coach of an unlikely team of convicts who are set to take on the prison officers.
Based freely on the classic novels by CS Forester, Hornblower is a series of TV films following the progress of a young officer through the ranks of the British navy during the Napoleonic Wars. The series greatest asset is the handsome and charismatic Ioan Gruffudd in the lead role, surely a major star in the making. For television films, the production values are very good, though as Titanic, Waterworld and The Perfect Storm demonstrated, filming an aquatic adventure is a very expensive business, and it is clear that the Hornblower dramas simply make the best of comparatively small budgets. No more faithful to Forester's books than the 1951 Gregory Peck classic Captain Horatio Hornblower, the real inspiration seems to have come from the success of Sharpe, starring Sean Bean, which likewise featured a British hero in the Napoleonic Wars. Nevertheless, while rather more easy-going than the real British navy of the time, the Hornblower saga delivers an entertaining adventure, greatly enhanced by the presence of such guest stars as Denis Lawson, Cheri Lunghi, Ronald Pickup and Anthony Sher. --Gary S Dalkin
A Nightmare On Elm Street:Nancy (Heather Langenkamp) is having grisly nightmares. Meanwhile, her high-school friends, who are having the very same dreams, are being slaughtered in their sleep by the hideous fiend of their shared nightmares. When the police ignore her explanation, she herself must confront the killer in his shadowy realm... From modern horror master Wes Craven comes a timeless shocker that remains the standard bearer for terror. Featuring Johnny Depp in his first starring role, this horror classic gave birth to one of the most infamous undead villains in cinematic history: Freddy Krueger. A Nightmare on Elm Street 2:Freddy's Revenge Five years have passed since Freddy Krueger (Robert Englund) was sent howling back to hell. But now, a new kid on Elm Street is being haunted every night by gruesome visions of the deadly dream stalker and if his twisted soul takes possession of the boy's body, Freddy will return from the dead to wreak bloody murder and mayhem upon the entire town.A Nightmare On Elm Street 3:Dream Warriors The last of the Elm Street kids are now at a psychiatric ward where Freddy haunts their dreams with unspeakable horrors. Their only hope is dream researcher and fellow survivor Nancy Thompson (Heather Langenkamp of the original Nightmare), who helps them battle the supernatural psycho on his own hellish turf. A Nightmare On Elm Street 4:The Dream Master Proving there's no rest for the wicked, the unspeakably evil Freddy Krueger is again resurrected from the grave to wreak havoc upon those who dare to dream. As her friends succumb one by one to Freddy's wrath, telepathically gifted Kristen embarks on a desperate mission to destroy the satanic dream stalker and release the tortured souls of his victims once and for all. A Nightmare On Elm Street 5:The Dream Child Unable to overpower the Dream Master who vanquished him in A Nightmare On Elm Street 4, Freddy haunts the innocent dreams of her unborn child and preys upon her friends with sheer horror. Will the child be saved from becoming Freddy's newest weapon or will the maniac again resurrect his legacy of evil? A Nightmare On Elm Street 6:Freddy's Dead - The Final Nightmare They tried to burn him, bury him, wash him away with holy water. Freddy hitches a ride inside some poor soul's dream to the nearest town and hey, quicker than you can say Nine, ten, never sleep again, the dreamstalker's back in business... A Nightmare On Elm Street 7:Wes Craven's New Nightmare In a frightening new twist in the terror on Elm street, Wes Craven (director of the original film) finds that his dreams have begun to dictate real-life horrors for the stars of the film!
A ruthless business executive (an intense tour de force performance by leading man Nicol Williamson) returns home to his Liverpool roots to investigate his father's death. An unflinching exploration of the British class system, Jack Gold's penetrating, brutal drama stands alongside contemporary classics Up the Junction and Room at the Top, and pre-dates Get Carter by a year. Underrated and underexposed, The Reckoning may well be one of the most essential British films ever made. Special Features High Definition remaster Original mono audio Culture Clash (2017, 20 mins): interview with writer, journalist and broadcaster Matthew Sweet Memories of Marler (2017, 3 mins): interview with actor Tom Kempinski On Your Marks (2017, 4 mins): interview with second assistant director Joe Marks Original theatrical trailer Image gallery: on-set and promotional photography New English subtitles for the deaf and hard of hearing
Great ExpectationsThe key ingredient in this modern-day version of Charles Dickens's classic is director Alfonso Cuarón, who made the glowing, estimable A Little Princess. If you saw that (and you should), understand that Expectations has those ingredients (great sense of time, place, and timing) but adds modern music and sex appeal; the latter personified by the long-legged Gwyneth Paltrow. Finnegan Bell (Ethan Hawke as an adult, Jeremy James Kissner at age 10) is the new version of Dickens's Pip. He's a child wise beyond his years, befriending an escaped convict (Robert De Niro) in the warm waters of Florida's Gulf Coast. Finn is also the plaything for Estella (Paltrow as an adult, Raquel Beaudene at age 10), the niece of the coast's richest and most eccentric lady, Ms. Dinsmoor (a fun and flamboyant Anne Bancroft). The prudish Estella likes Finn (catch the best first kiss scene in many a moon) but has been brought up to disdain men; she'll break hearts. As the object of Finn's desires, Estella unfortunately is a one-dimensional character, yet what a dimension! Clad in Donna Karan dresses and her long, sun-kissed hair, Paltrow is luminous. She and Hawke make a very sexy couple. Mitch Glazer's script does better by Finn. He's a blue-collar worker with a gift for drawing (artwork by Francesco Clemente). Following his Uncle Joe's (Chris Cooper) honest ways, Finn grows up as a fisherman, thoughts of Estella and art drifting away in the hard work. When a mysterious benefactor allows him to follow his dream, Finn finds himself in New York, preparing for a once-in-a-lifetime art exhibit--and in the arms of the engaged Estella. Filled with cinematographer Emmanuel Lubezki's golden-drenched light, the film has an irresistible, wildly romantic look. Dinsmoor's place is certainly gothic, Estella and Finn's longing encounters glamorous. Cuarón uses an MTV-friendly soundtrack with a confident touch. Songs by Tori Amos and the band Pulp--along with Patrick Doyle's silky score--create passionate scenes. It all ends far too swiftly with a seemingly tacked-on ending (reflecting the book, as it happens) but the film is splendid storytelling. It's a stylish, sweet valentine. --Doug Thomas Oliver TwistIf Charles Dickens were alive to see Roman Polanski's faithful adaptation of Oliver Twist, he'd probably give it his stamp of approval. David Lean's celebrated 1948 version of the Dickens classic and Carol Reed's Oscar-winning 1968 musical are more entertaining in some ways, but Polanski's rendition is both painstakingly authentic (with superb cinematography and production design) and deeply rooted in the emotional context of the story. Both Polanski and Dickens had personal experiences similar to those of young Oliver (played here by Barney Clark)--Polanski in the Nazi-occupied ghettos of Poland during World War II, and Dickens during his hard-scrabble youth in Victorian London--and this spiritual kinship lends a certain gravitas to the tale of a tenacious orphan who escaped from indentured servitude in London society and is taken in by Fagin (Ben Kingsley) and his streetwise gang of pickpockets. As the evil Bill Sykes, who exploits Oliver for his own nefarious needs, Jamie Foreman is no match for Oliver Reed (in the '68 musical) in terms of frightening menace, but even here, Polanski's direction hews closer to Dickens, while the screenplay by Ronald Harwood (who also wrote Polanski's The Pianist) necessarily trims away subplots and characters for the sake of narrative economy. All in all, this Oliver Twist rises above most previous versions, and with the benefit of Kingsley's nuanced performance, Polanski arrives at a compassionate conclusion that captures the essence of Dickens' novel in a way that viewers of all ages will appreciate for many years to come.-- Jeff Shannon Nicholas NicklebyWhile it necessarily streamlines the Charles Dickens classic, this delightful adaptation of Nicholas Nickelby captures the essence of Dickens in all of its Victorian splendor and squalor. With Charlie Hunnam (the U.K. Queer as Folk) doing noble work in the title role, this quintessentially Dickensian tale begins with the death of Nicholas's father, and the subsequent scheme by his cruel uncle (Christopher Plummer, perfectly cast) to separate Nicholas from his now penniless sister and mother. Stuck in a squalid school run by the evil Mr. and Mrs. Squeers (Jim Broadbent, Juliet Stevenson), Nicholas escapes with his loyal friend Smike (Billy Elliott's Jamie Bell), whose lineage will determine the greedy uncle's fate. As he did with Jane Austen's Emma, writer-director Douglas McGrath has crafted a prestigious production that shifts effortlessly between comedy and tragedy without compromising its warm, inviting tone. His dialogue rings true throughout, inspiring a stellar cast including Nathan Lane, Alan Cumming, Edward Fox, and Timothy Spall. Dickens himself would almost certainly have approved. --Jeff Shannon
Darkman: Dr Peyton Westlake (Liam Neeson) is on the verge of realising a major breakthrough in synthetic skin when a gang led by the sadistic Robert G Durant (Larry Drake) obliterates his laboratory. Burned beyond recognition and altered by an experimental medical procedure Westlake attempts to rebuild his laboratory and re-establish ties with his former girlfriend Julie (Frances McDormand). But his most challenging task lies within himself. Torn between his desire to create a new life with Julie and his quest for revenge the man known as Darkman begins to assume alternate identities in this stunning fast-paced action thriller from director Sam Raimi. (Dir. Sami Raimi 1990) Darkman 2: Dr Peyton Westlake alias the crime-fighting master of disguise Darkman is still trying to find a way of healing his disfigured features. But a tragic turn of events causes him to re-live the nightmare that disfigured him... (Dir. Bradford May 1994) Darkman 3: The Darkman pits himself against a drug dealer as he attempts to protect his research and his team. (Dir. Bradford May 1996)
Set in Wyoming in 1881 during the sunset years of the Wild West, 1992's Unforgiven was directed by and starred Clint Eastwood, and is generally considered to be the towering achievement of his twilight years. Eastwood plays William Munny, once a vicious, whisky-swilling bounty hunter, brought to heel by his marriage to a good woman. When she dies, he must raise two children and run a hog farm alone, something which we see him make a comically poor fist of doing. Then, in a twist of fate, a young outlaw called the Schofield Kid trots up to his farm and invites him to collect on a $1,000 reward raised by a group of prostitutes. However, Clint must not only face up to his own somewhat rusty skills as a gunslinger, but also to genial-but-psychopathic lawman Little Bill Daggett (Gene Hackman in superb form). Unforgiven ultimately conforms to the expectations of the genre, while subverting quite a few of them on the way. There's brooding on the consequences of violence ("It's a hell of a thing to kill a man"), as Munny's ineptitude with a rifle is matched by his feelings of penitence for his younger wrongdoings. Finally, however, Eastwood casts aside age and inhibition in a chillingly ruthless shootout, his powers miraculously (improbably?) restored, in what could also be seen as an assertion on the part of the ageing Eastwood of his own potency as a major player in Hollywood. On the DVD: Unforgiven is presented in this Special Edition release in a 2.35:1 widescreen transfer that gives due emphasis to what critic David Thomson described as the "drained, wintry" feel of the movie. There are numerous bonus features in addition to the original trailer. Eastwood official biographer Richard Schickel offers a particularly copious and detailed audio commentary which touches on all aspects of the film. The 64-minute 1997 documentary Clint on Clint offers a detailed if inevitably worshipful account of Eastwood's career. Finally, there's a 47-minute 1959 episode of Maverick, the old James Garner TV series, guest-starring a 29-year-old Clint, several years away from his big Hollywood break. --David Stubbs
Adapted from the critically acclaimed off-Broadway rock theatre hit, Hedwig and The Angry Inch tells the story of an "internationally ignored" rock singer, Hedwig, and her search for stardom and love.
A Nightmare on Elm Street 2: Freddy's Revenge was a quick follow-up no one was exactly happy with. However this deserves some credit for trying to extend rather than repeat the original storyline. As opposed to the resourceful heroines of all the other Elm Street films, this is the one about the troubled male teenager worried that Freddy is out to possess his body and make his way back to reality. It's shot through with a heavy handed gay subtext, with male bodies ogled and sliced (for a change), stuck with a few truly ridiculous moments (the exploding budgie) and lapses into incoherence, but it opens with a great school bus sequence and makes the most of the infernal boiler room of Freddy's soul. With Clu Gulager and Hope Lange. Directed by Jack Sholder (The Hidden). -- Kim Newman
Every college in the country wants Johnny. 'Cause when he's good he's very very good. And when he's bad he's better. It's an avalanche of wine women and cash kickbacks when two of the biggest college football factories in the country scramble to get Johnny Walker on their rosters. They'd give anything for an arm like Johnny's. And they're willing to offer anybody to see that they get him. Moving from lusty limousine rides to all-night strip joints Johnny (Anthony Michael Hall The
When young Alan Parrish discovers a mysterious board game, he doesn't realize its unimaginable powers, until he is magically transported before the eyes of his friend, Sarah, into the untamed jungles of JUMANJI! 26 years later, Alan (Robin Williams) reunites with Sarah (Bonnie Hunt), and together with Judy (Kirsten Dunst) and Peter (Bradley Pierce), tries to outwit the game's powerful forces! Features: First look at JUMANJI: Welcome To The Jungle NeverBeforeSeen Deleted Scenes Hilarious Gag Reel with Robin Williams and the Cast!
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