Whether or not you can sympathise with its fascistic/vigilante approach to law enforcement, Dirty Harry (directed by star Clint Eastwood's longtime friend and directorial mentor, Don Siegel) is one hell of an American cop thriller. The movie makes evocative use of its San Francisco locations as cop Harry Callahan (Eastwood) tracks the elusive "Scorpio killer" who has been terrorising the city by the Bay. As the psychopath's trail grows hotter, Harry becomes increasingly impatient and intolerant of the frustrating obstacles (departmental red tape, individuals' civil rights) that he feels are keeping him from doing his job. A characteristically taut and tense piece of filmmaking from Siegel (Invasion of the Body Snatchers, The Shootist, Escape from Alcatraz), it also remains a fascinating slice of American pop culture. It was a big hit (followed by four sequels) that obviously reflected--or exploited--the almost obsessive or paranoid fears and frustrations many Americans felt about crime in the streets. At a time when "law and order" was a familiar slogan for political candidates, Harry Callahan may have represented neither, but from his point of view his job was simple: stop criminals. To him that end justified any means he deemed necessary. --Jim Emerson
New York marketing exec Marcus Graham (Eddie Murphy) is a wolf in chic clothing a ladies' man dedicated to life liberty and the happiness of pursuit. But he's about to find out that what goes around comes around in this smash-hit romantic comedy!
Bicentennial Man was stung at the 1999 box office, due no doubt in part to poor timing during a backlash against Robin Williams and his treacly performances in two other, then-recent, releases, Jakob the Liar and Patch Adams. But this near-approximation of a science-fiction epic, based on works by Isaac Asimov and directed, with uncharacteristic seriousness of purpose, by Chris Columbus (Mrs Doubtfire), is much better than one would have known from the knee-jerk negativity and box-office indifference. Williams plays Andrew, a robot programmed for domestic chores and sold to an upper-middle-class family, the Martins, in the year 2005. The family patriarch (Sam Neill) recognizes and encourages Andrew's uncommon characteristics, particularly his artistic streak, sensitivity to beauty, humour and independence of spirit. In so doing, he sets Williams's tin man on a two-century journey to become more human than most human beings. As adapted by screenwriter Nicholas Kazan, the movie's scale is novelistic, though Columbus isn't the man to embrace with Spielbergian confidence its sweeping possibilities. Instead, the Home Alone director shakes off his familiar tendencies to pander and matures, finally, as a captivating storyteller. But what really makes this film matter is its undercurrent of deep yearning, the passion of Andrew as a convert to the human race and his willingness to sacrifice all to give and take love. Williams rises to an atypical challenge here as a futuristic Everyman, relying, perhaps for the first time, on his considerable iconic value to make the point that becoming human means becoming more like Robin Williams. Nothing wrong with that. -- Tom Keogh, Amazon.com
Jeremy Brett Susan Fleetwood Robin Ellis and Geoffrey Chater star in this adaptation of Ford Madox Ford s classic Edwardian story of love and deception widely regarded as one of the greatest English-language novels of the twentieth century. A household name from his iconic performance in ITV s The Adventures of Sherlock Holmes Brett relishes the title role giving one of the outstanding performances of his long and distinguished career. The complex plot evolves around two outwardly perfect married couples Englishman Edward Ashburnam and his wife Leonora and Americans John and Florence Dowell; the couples meet annually in the German spa town of Bad Nauheim a resort favoured by those with heart conditions. But as the friendships deepen the intricacies of the relationships are gradually laid bare and the carefully concealed flaws destructive passions and infidelities of the protagonists bring about a sequence of tragic events that will consume them all.
Robots: Academy Award winning director Chris Wedge (Ice Age) returns to create another visually spectacular three-dimensional world with an all-star award-winning cast. This hilarious fun adventure not only pushes the boundaries of animation but also introduces us to a world full of loveable characters who led by Rodney Copperbottom (Ewan McGregor) set out to prove that you can shine no matter what you are made of! Rodney Copperbottom voiced by Ewan McGregor is a small town robot who has a gift for inventing things and a hope of moving beyond his quaint surroundings. He works side by side in a restaurant with his dad who is a dishwasher - literally a dishwasher. You open his chest and load in the dishes. Rodney has dreams of something greater. Armed with his unique talent for inventing Rodney embarks on a journey to Robot City to meet his idol the majestic inventor Bigweld voiced by Mel Brooks. An iconic figure in all of Robot City Bigweld has spent a lifetime creating things to make the lives of robots better. Once in Robot City Rodney finds that things are not quite as he expected and his quest may be a lot harder than he imagined. As he tries to navigate his way around this new city Rodney befriends the Rusties a ragtag group of street-smart bots who know the ropes. One of the Rusties Fender (voiced by Robin Williams) immediately becomes Rodney's best friend and even lets his spunky kid sister Piper Pinwheeler (voiced by Amanda Bynes) tag along. They take him in and for now at least Rodney has a home in Robot City. Ice Age: A star-studded cast provides the voices for the prehistoric creatures in this computer-animated feature set 20 000 years ago as the Ice Age approaches. Seemingly anti-social Manny a woolly mammoth (voiced by Ray Romano) acts as if he just wants to be left alone. When he meets Sid (voiced by John Leguizamo) a sloth the two become unlikely traveling companions. The plot thickens when the duo finds a human infant and decides to try to return the child to its ""herd"". Manny slowly but surely reveals his heart of gold while Sid continues to provide comic relief. Diego (voiced by Denis Leary) a saber-tooth tiger with ulterior motives soon joins them in their search for the humans. Ultimately this group of misfits becomes its own herd learning about friendship and loyalty as they brave snow ice freezing temperatures predators hail and even boiling lava pits. All the while a saber-tooth squirrel Scrat provides comic relief as he valiantly struggles with an acorn. A well-written humorous script and endearing characters mesh well with the state-of-the-art technology and effects. Other stars lending their voices to the feature include Goran Visnjic Jack Black and Jane Krakowski. Chicken Run: Trouble is brewing down on Mrs Tweedy's poultry farm: the chickens are revolting (yes that old chestnut) and clucky hen Ginger (voiced by Julia Sawalha) is planning her latest coop um coup. Getting one or two birds out of the farm is no problem whatsoever. Unfortunately Ginger plans to get everyone out at the same time and when one of the would-be escapees happens to be kind-hearted but bird-brained Babs (Jane Horrocks) Ginger is fighting a losing battle. Despotic owner Mrs Tweedy (Miranda Richardson) plans to turn the birds into the tender filling of her new range of homemade chicken pies and is waiting until the hens have fattened up. Ginger knows that time is of the essence but every daring scheme ends in disaster. Ginger needs a miracle. And fast...
They came they saw they changed their minds! A group of disillusioned townsfolk living in the West renounce their settlemen and decide to return to their homes in the East. Hiring a grizzled and eccentric wagonmaster (Candy) they set off on the trail...
The remarkable first season of Deadwood represents one of those periodic, wholesale reinventions of the Western that is as different from, say, Lonesome Dove as that miniseries is from Howard Hawks's Rio Bravo or the latter is from Anthony Mann's The Naked Spur. In many ways, Deadwood embraces the Western's unambiguous morality during the cinema's silent era through the 1930s while also blazing trails through a post-NYPD Blue, post-The West Wing television age exalting dense and customized dialogue. On top of that, Deadwood has managed an original look and texture for a familiar genre: gritty, chaotic, and surging with both dark and hopeful energy. Yet the show's creator, erstwhile NYPD Blue head writer David Milch, never ridicules or condescends to his more grasping, futile characters or overstates the virtues of his heroic ones. Set in an ungoverned stretch of South Dakota soon after the 1876 Custer massacre, Deadwood concerns a lawless, evolving town attracting fortune-seekers, drifters, tyrants, and burned-out adventurers searching for a card game and a place to die. Others, particularly women trapped in prostitution, sundry do-gooders, and hangers-on have nowhere else to go. Into this pool of aspiration and nightmare arrive former Montana lawman Seth Bullock (Timothy Olyphant) and his friend Sol Starr (John Hawkes), determined to open a lucrative hardware business. Over time, their paths cross with a weary but still formidable Wild Bill Hickok (Keith Carradine) and his doting companion, the coarse angel Calamity Jane (Robin Weigert); an aristocratic, drug-addicted widow (Molly Parker) trying to salvage a gold mining claim; and a despondent hooker (Paula Malcomson) who cares, briefly, for an orphaned girl. Casting a giant shadow over all is a blood-soaked king, Gem Saloon owner Al Swearengen (Ian McShane), possibly the best, most complex, and mesmerizing villain seen on TV in years. Over 12 episodes, each of these characters, and many others, will forge alliances and feuds, cope with disasters (such as smallpox), and move--almost invisibly but inexorably--toward some semblance of order and common cause. Making it all worthwhile is Milch's masterful dialogue--often profane, sometimes courtly and civilized, never perfunctory--and the brilliant acting of the aforementioned performers plus Brad Dourif, Leon Rippy, Powers Boothe, and Kim Dickens. --Tom Keogh, Amazon.com
All four series' of the British television comedy about the feuding Brandon family. Uncle Mort (Robin Bailey) constantly argues with his sister Annie (Liz Smith), who in turn can't stand her husband Les (John Comer). The only thing that unites them is their determination to turn their laid-back son Carter (Stephen Rea) into a go-getting executive before he marries his fiancée Pat (Anita Carey).
Hammer Horror! Dragon Thrills! The First Kung Fu Horror Spectacular! Count Dracula journies to a remote Chinese village in the guise of a warlord to support six vampires who are dispirited after the loss of a seventh member of their cult. At the same time vampire hunter Prof. Van Helsing happens to be lecturing in the country and is persuaded by villagers to help them fight this curse of the ages... Possibly the only film to combine the traditions of a vampire story with Kung Fu!
Christian Wolff (Affleck) is a math savant with more affinity for numbers than people. Behind the cover of a small-town CPA office, he works as a freelance accountant for some of the world's most dangerous criminal organizations. With the Treasury Department's Crime Enforcement Division, run by Ray King (J.K. Simmons), starting to close in, Christian takes on a legitimate client: a state-of-the-art robotics company where an accounting clerk (Anna Kendrick) has discovered a discrepancy involving millions of dollars. But as Christian uncooks the books and gets closer to the truth, it is the body count that starts to rise.Click Images to Enlarge
In Unbreakable, writer-director M. Night Shyamalan reunites with Sixth Sense star Bruce Willis, comes up with another story of everyday folk baffled by the supernatural (or at least unknown-to-science) and returns to his home town, presenting Philadelphia as a wintry haunt of the bizarre yet transcendent. This time around, Willis (in earnest, agonised, frankly bald Twelve Monkeys mode) has the paranormal abilities, and a superbly un-typecast Samuel L. Jackson is the investigator who digs into someone else's strange life to prompt startling revelations about his own. David Dunn (Willis), an ex-jock security guard with a failing marriage (to Robin Wright Penn), is the stunned sole survivor of a train derailment. Approached by Elijah Price (Jackson), a dealer in comic book art who suffers from a rare brittle bone syndrome, Dunn comes to wonder whether Price's theory that he has superhuman abilities might not hold water. Dunn's young son Joseph (Spencer Treat Clark) encourages him to test his powers and the primal scene of Superman bouncing a bullet off his chest is rewritten as an amazing kitchen confrontation when Joseph pulls the family gun on Dad in a desperate attempt to convince him that he really is unbreakable (surely, "Invulnerable" would have been a more apt title). Half-convinced he is the real-world equivalent of a superhero, Dunn commences a never-ending battle against crime but learns a hard lesson about balancing forces in the universe. Throughout, the film refers to comic-book imagery--with Dunn's security guard slicker coming to look like a cape, and Price's gallery taking on elements of a Batcave-like lair--while the lectures on artwork and symbolism feed back into the plot. The last act offers a terrific suspense-thriller scene, which (like the similar family-saving at the end of The Sixth Sense) is a self-contained sub-plot that slingshots a twist ending that may have been obvious all along. Some viewers might find the stately solemnity with which Shyamalan approaches a subject usually treated with colourful silliness offputting, but Unbreakable wins points for not playing safe and proves that both Willis and Jackson, too often cast in lazy blockbusters, have the acting chops to enter the heart of darkness. --Kim Newman
A colourful upbeat comedy set in and around a travelling circus Big Top stars Amanda Holden John Thomson Sophie Thompson Ruth Madoc Bruce Mackinnon and Tony Robinson What do you do when you've advertised a death-defying stunt that everyone has bought tickets to see and the performer is just a little bit too injured? How do you manage a group of people who are so jealous of each other that they are happy to sabotage their colleagues' performances? How do you hold onto your star acrobat when he is being chased by immigration officials? Fraught with problems and dealing with a cacophony of egos Ring Mistress Lizzie (Amanda Holden) must somehow keep the whole thing going.
Enter a spectacular world of whimsy fun and fantasy in this acclaimed visual extravaganza. Leslie Zevo is a fun-loving adult who must save his late father's toy factory from his evil uncle a war-loving general who builds weapons disguised as toys. Aided by his sister and girlfriend Leslie sets out to thwart his uncle and restore joy and innocence to their special world.
A reverend puts an engaged couple through a gruelling marriage preparation course to see if they are meant to be married in his church.
A stylish piece of neo-noir, D.O.A. was directed by Rocky Morton and Annabel Jankel during their glory days as creators of Max Headroom. Sometimes mocked at the time for its extravagant visual imagery, this is a film which has aged better than might have been expected. Vastly reworked from the 40s original, D.O.A. stars Dennis Quaid as the burned-out campus novelist who discovers he has been fatally poisoned and sets out to find his killer in the short time left to him, along the way rediscovering his love for the life he is going to lose. Quaid is good enough both at chain-smoking cynicism and angry zest that this becomes emotionally credible; a worryingly young Meg Ryan is excellent as the hero-worshipping sophomore he co-opts into his search. With camerawork of sometimes hallucinatory vividness, rather too many shots of fans and Ferris wheels, and Charlotte Rampling playing a dragon-lady villainess to the hilt, this is a film which teeters on the brink of camp, but has the courage of its individuality. On the DVD: D.O.A. comes to disc with almost no special features whatever save for a Spanish soundtrack and subtitles in Spanish and the Scandinavian languages. Its widescreen visual aspect is 1.85:1 and the Dolby sound does full justice to a very loud score by bands like Timbuk 3.--Roz Kaveney
The Robe was designed by 20th Century-Fox to show off the wonders of CinemaScope, and taken simply as a vehicle for widescreen photography the movie is undeniably a visual treat. Perhaps the clumsy early 'Scope cameras were partly to blame, but from any other perspective--plot, dialogue and acting--The Robe is a flat, overly reverential and turgid piece of film making. Richard Burton is the Roman Centurion on duty at Christ's crucifixion who bets on and wins Jesus' robe, then spends the rest of the movie agonising about becoming a Christian. Victor Mature is his sanctimonious slave Demetrius. So confident were the producers of box-office success that they commissioned the sequel, Demetrius and the Gladiators, even before The Robe had been released. --Mark Walker
Alfred Hitchcock hadn't made a spy thriller since the 1930s, so his 1969 adaptation of Leon Uris's bestseller Topaz seemed like a curious choice for the director. But Hitchcock makes Uris's story of the West's investigation into the Soviet Union's dealings with Cuba his own. Frederick Stafford plays a French intelligence agent who works with his American counterpart (John Forsythe) to break up a Soviet spy ring. The film is a bit flat dramatically and visually, and there are sequences that seem to occupy Hitchcock's attention more than others. A minor work all around, with at least two alternative endings shot by Hitchcock. --Tom Keogh
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