Look who grew up: in Our Lips Are Sealed Mary-Kate and Ashley Olsen, once the sleepy-eyed preschoolers in the hit TV sitcom Full House, wake to find themselves ready for their first day of high school. But the day doesn't shape up as ultra-fantastically as in their dreams. A series of bizarre circumstances force them into a life-threatening situation in which only the FBI Witness Protection Program can help. It turns out that Mary-Kate and Ashley are their own worst enemies; the girls continually blow their cover until finally they're booted down under to the warm and sparkling recreation mecca of Sydney, Australia. Here the challenge to keep a secret takes second fiddle to the bigger challenges of fitting in with the popular group, learning Aussie lingo, and (apparently) changing into a new set of adorable clothes and accessories in almost every scene. Fans from the ages of 6 to 13 will probably enjoy the daft antics of the Olsens, their adventures with cute boyfriends, and their ability to thwart the goofy bad guys. Also, their acting ability--although crippled by yet another bubblehead script--continues to improve. To the parental crowd, the film plays somewhat like a New Age beach-blanket movie with plenty of surfer parties, flower-power fun, overblown story points, mild potty humour, and lots of belly buttons (LOTS of belly buttons). The movie also has some inexplicable references (to such grown-up phenomena as The Blair Witch Project and The Sopranos) that are bound to go way over the target audience's heads but it's absolutely clean fun that fans will eat up. --Liane Thomas, Amazon.com
Geraldine McEwan takes over the coveted mantle of the titular super sleuth in a box set of all-star cast adaptations of Agatha Christie's Miss Marple novels. Episodes Comprise: 1.Sleeping Murder 2.The Sittaford Mystery 3.The Moving Finger 4.By The Pricking Of My Thumbs
Flt.Lt Murray (David Farrar) is a pilot who fails to join the RAF during WWII and decides to join the Air - Sea Rescue instead. His boat is out in all conditions picking up drowned pilots and taking them to safety. P/O Rawlings (Ralph Michael) is a new recruit who resents joining Farrar's boat and would rather be where the action is - in the air. During a mission they run into an enemy minefield and an armed trawler... For Those In Peril presents the work of the Air-Sea Rescue in documentary terms providing the public with a glimpse of an aspect of war that tends to be overlooked. It was also the closest Charles Crichton (The Lavender Hill Mob Dead of Night The Titfield Thunderbolt) got to documentary realism during his long Ealing career. The story was written by Richard Hillary a fighter pilot in the Battle of Britain whose experiences inspired his book The Last Enemy.
Newly wed to the evil and lecherous Drysdale (Ian Bannen) the beautiful Lady Panthea (Lysette Anthony) is saved on her wedding day by the dashing young highwayman the Silver Blade (Hugh Grant). As he rides into the moonlight she vows never to forget this mysterious stranger who must at the final outcome save her from certain death. As this lavish tale of greed treachery and blackmail weaves its fast-moving course through the sumptuous surroundings of King Charles II's (Michale York) palace a host of stars gather in an extravaganza of spectacular proportions set amidst a heart-stopping stage of duels to the death... and love.
Thanks to its focus on more single-case episodes, the second half of CSI's second series is an even more highly concentrated dose of forensic puzzle-solving from the Vegas science sleuths. With the whole team working together on one puzzle crime (or series of crime puzzles), the group dynamic is elaborated and the audience drawn deeper into each investigation. The first three episodes are all single cases: "Identity Crisis" sees the return of Grissom's nemesis, serial killer Paul Millander; in "The Finger", Catherine is caught up in an elaborate kidnap plot; while in "Burden of Proof", a stray body in a "body farm" leads to a difficult case of child abuse. After a brief return to the two-investigation-per-episode format, the team unite once more for one of their most intriguing cases, "Chasing the Bus", in which they must unravel the mystery of a bus crash in the desert. "Stalker" is possibly the show's most terrifying episode to date, with a woman found murdered behind the safely locked doors of her apartment. The season concludes with "Cross Jurisdictions", a rather unsubtle way of introducing the spin-off show CSI: Miami and, finally, "The Hunger Artist", a somewhat strained attempt to comment on our society's obsession with glamour and self-image, which is most notable for Grissom's devastating discovery that his hearing problems are not only congenital, but irreversible. --Mark Walker
Robert Duvall and Tommy Lee Jones star as Gus McCrae and Woodrow Call, ageing cowboys and former Texas rangers, who organise a 2,500 mile cattle drive for one last great adventure in this excellent 1989 miniseries adaptation of Larry McMurtry's novel. The best friends, who steal the herd from a gang of Mexican cattle rustlers, drive their herd from Texas to Montana, battling horse thieves, angry Indian tribes, and a renegade half-breed killer named Blue Duck (Frederic Forrest) on a mission of revenge. The excellent cast also includes Robert Urich as cardsharp and former Ranger Jake Spoon, Anjelica Huston as McCrae's old flame Clara Allen, Danny Glover, Ricky Schroder, Diane Lane, Chris Cooper, DB Sweeney, Steve Buscemi, and even a small role for author Larry McMurtry. Australian director Simon Wincer shows a tremendous capacity for balancing sweeping drama and intimacy against the gorgeous landscape of the American Southwest, giving a grandly epic feel to the film despite its small-screen target and limited budget, and for forging memorable characters of even the smallest supporting parts. The heart of the drama belongs to McCrae and Call, memorably etched by Duvall and Jones as the last of the range romantics. In the age of revisionist Westerns, this excellent cattle-drive drama nicely maintains an old -fashioned feeling while still showing the dark side of the American West. --Sean Axmaker, Amazon.com
B-movie mavens turned A-list genre fiends Robert Rodriguez and Quentin Tarantino teamed up in 1996 to take vampire gothic south of the border into spaghetti Western territory for the gory cult film From Dusk Till Dawn. The high-concept mix of southwestern criminals versus supernatural nasties proved too irresistible for either of the video-hound creators to allow it to remain dead (or undead, as the case may be), so they plotted and produced a pair of direct-to-video sequels. Tarantino takes a story credit on the first, a heist film coscripted and directed by Scott Speigel. A Mexican bank robbery helmed by drawling criminal Robert Patrick (Terminator 2) turns into a literal bloodbath when his crew are turned into hungry bloodsuckers. Speigel, a buddy of Sam Raimi, tops both Tarantino and Rodriguez for sheer cinematic acrobatics, putting his camera in the most absurd places (even from inside the mouth of a vampire chomping down on a victim) and driving the film with adrenaline-charged overkill, but despite some clever scenes and a hilarious Psycho spoof, From Dusk Till Dawn 2--Texas Blood Money turns into another aggressively trashy latex-mask and rubber-bat gorefest as cops and robbers team up against the fanged gang. Bo Hopkins costars as the police detective dogging Patrick's trail. Bruce Campbell and Tiffani-Amber Thiessen make cameos in the jokey opening sequence and Speigel and fellow director Kevin Smith briefly appear as vampire bait. Bartender Danny Trejo is the only returning cast member. --Sean Axmaker
THE LUCKY ONES DIED FIRST... Horror master Wes Craven achieved critical and commercial success with the likes of Scream and A Nightmare on Elm Street but for many genre fans, the director s seminal 1977 effort The Hills Have Eyes remains his masterpiece. Taking a detour whilst on route to Los Angeles, the Carter family run into trouble when their campervan breaks down in the middle of the desert. Stranded, the family find themselves at the mercy of a group of monstrous cannibals lurking in the surrounding hills. With their lives under threat, the Carters are forced to fight back by any means necessary. As gruelling a viewing experience today as it was upon initial release, The Hills Have Eyes stands alongside the likes of The Texas Chain Saw Massacre and Night of the Living Dead as one of the defining moments in American horror cinema.
Add a splash of colour to your outfit with these gorgeous high heeled court shoes from Principles by Ben de Lisi. Simple yet stylish, they come in red patent with a round toe.
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
It's Christmas Eve, and Arnold needs to find a Turbo Man action figure, the craze of the season. Only they're sold out, of course. So the race is on, and the Austrian Oak must do fierce battle with other shoppers and merchants alike, all for the prize toy with which to purchase his son's affections. All of which is unwittingly very sad, on the content level. But the film supposes itself to be amiable enough, on its own shabby terms, even when it climbs out of the screen and starts gnawing at your furniture. If the humour were to get broader it would make HDTV obsolete. The tone can only be termed good-naturedly mean-spirited. Goofy carnival music runs continuously in the background so we never forget that what we're seeing is, er, um, funny. All the action is composed of comic violence, like an unhip Warner Bros. cartoon. Do the filmmakers actually consider this cynical foray to be indicative of the Christmas spirit? Apparently so, because the resolution has Arnold winning quite inadvertently, and offers no clear alternative to the competitive commercialism that drives the film's attempts at humour. In a key scene that's meant to be touching, Arnold and his chief rival Sinbad sit down for a heart-to-heart in which we learn that receiving much-wanted Christmas presents in our formative years is responsible for our success in adulthood. You get that Turbo Man, you'll be a billionaire; don't get it, you'll be a loser. Such is the formidable challenge of parenthood, to cater to the child's whims while it can still make a difference. This is what's wrong with America. --Jim Gay, Amazon.com
This Video Nasty banned since 1982 and has at long last been approved for home viewing. Produced in 1978 The Toolbox Murders made the USA's most disturbing movie list and was vilified by the nations media. It was later released in the UK in a gore-filled double bill with Zombie Flesh Eaters at cinemas across the country. Following it's success in the cinema Toolbox was unleashed on video to a huge media backlash was subsequently banned and placed on the video nasty list in 1982. It has taken all these years to gain a certificate. The Toolbox Murders tells the story of a hooded killer who commits the most atrocious crimes in American history using a nailgun drill and other implements from his toolbox. Now you have the chance to see this film on DVD and make up your own mind about one of the most controversial films ever made.
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 charwoman Mrs Cragg (Peggy Mount), learns that her entire street is to be demolished by some unscrupulous business types, she and her friends decide to take matters into their own hands. Using important financial information gathered from the offices at which they regularly clean, the group seek to make a fortune in insider dealing to save their homes.Starring a host of British household favourites such as Harry H Corbett (Steptoe and Son), Dandy Nichols (Till Death Us Do Part) and Jon Pertwee (Doctor Who), Ladies Who Do is a classic ˜small woman takes on the world' vintage comedy from veteran director C.M Pennington-Richards.
Splice the main-brace and set sail with one of Hollywood's greatest pirate yarns. Robert Newton (Treasure Island) has the role of a lifetime as Blackbeard holy terror of the high seas. It's set at a time of buccaneers and privateers; plucky Robert Maynard (Keith Andes) infiltrates the ship of notorious pirate Charles Bellamy searching for vital evidence that will convict crooked official Henry Morgan. But Bellamy has been deposed; Blackbeard is captain now and he doesn't trust Maynard. There's treasure to plunder and a fair maiden to rescue but Blackbeard is a dangerous man and will not easily be defeated...
A thriller centered on a former Weather Underground activist who goes on the run from a journalist who has discovered his identity.
Timothy Dalton's second and last James Bond assignment in Licence to Kill is darker and harder-edged than anything from the Roger Moore years, dropping the sometimes excruciating in-jokes that had begun to dominate the series in favour of gritty, semi-realistic action. When CIA colleague and close friend Felix Leiter (David Hedison) gets married immediately after arresting villainous drug baron Franz Sanchez (with a little help from Bond), the crime lord's retribution is swift and terrible. Bond goes on a personal vendetta against Sanchez after his licence to kill is revoked. There are plenty of spectacular stunt scenes, of course, but the meaty story of revenge is this film's distinguishing feature. Dalton's portrayal of the iconic hero as tough but flawed was a brave decision that the producers subsequently retreated from after Licence to Kill's relatively poor box-office showing. On the DVD: Timothy Dalton's insistence that Bond was a man not a superhero, and "a tarnished man" at that encouraged the producers to redefine Bond with a tougher edge more in keeping with Fleming's original conception of the character. Licence to Kill is Bond's darkest assignment. The production team experienced their usual difficulties in bringing it to the screen, the "making-of" documentary reveals, including a haunted road in Mexico and a mysterious flaming hand that appeared out of the fire during the climactic tanker explosion. There are two commentaries here, both montage selections of interviews from cast and crew. The first features director John Glen and many of the actors; the second has producer Michael G Wilson and the production team. Gladys Knight pops up in the first music video, Patte La Belle in the second ("If You Asked Me To"). There are the usual trailers, gallery of stills and a feature on the Kenworth trucks specially adapted for the movie's stunt work. --Mark Walker
The title says it all--the abominable Dr Phibes Rises Again and he's as ruthless as ever. No longer content with merely avenging his wife's death, Phibes is now bent on her resurrection. With his mute assistant, Vulnavia, he sets off for Egypt, meting out bizarrely elaborate deaths--everything from clockwork snakes to a particularly severe exfoliation treatment--to all who stand in his way. This time Phibes has two competitors to race against: the trusty Inspector Trout and the renowned archaeologist Biederbeck, who has his own reasons for chasing Phibes. Like its predecessor, Dr Phibes Rises Again adds dark wit and imaginative art direction to the mix. Vincent Price is once again in high form, playing his organ with swooping arms and adding dry comic touches with a delicately cocked eyebrow. Watch out for cameos from a host of familiar faces, including Peter Cushing, Terry Thomas and Beryl Reid. --Ali Davis
This lavish adaptation of Charles Dickens immortal tale follows Pip an orphan given the chance to break free from poverty and live life as a gentleman. The stunning performances by an all-star cast are unforgettable. James Mason is Magwitch the escaped convict Pip helps in an act which is to affect his whole life; Robert Morley plays his kindly uncle; Anthony Quayle is Jaggers the lawyer who intercedes for Pip's anonymous benefactor; and the rich but deeply troubled Miss Havisha
Don't Tell Mom the Babysitter's Dead aspires to be a cross between Home Alone and Risky Business, with Christina Applegate as an inadvertent scam artist who gets in over her head and somehow pulls it off. When her mother goes to Australia for two months, Sue Ellen (Applegate) thinks she's going to be in charge--until an elderly tyrant of a babysitter arrives. But on the very first night the old lady has a heart attack and keels over. Sue Ellen and her siblings leave the body at a mortuary, only to discover afterward that all the money their mother had left for the summer was in the babysitter's clothes. So Sue Ellen has to get a job. Thanks to a trumped-up resume, she ends up as an executive assistant at a clothing manufacturer. For a while she keeps her head above water by skilfully exploiting a friendly coworker, but her brothers and sisters are running amok at home and a venomous receptionist has it in for her at work. The role-reversal humour of Sue Ellen having to mother her siblings is unsurprising, but Applegate is unexpectedly appealing; her scenes with Josh Charles have a sweet chemistry. Joanna Cassidy plays Sue Ellen's boss and a young David Duchovny is a weaselly clerk. --Bret Fetzer, Amazon.com
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