Legendary filmmaker Sam Raimi and director Gil Kenan reimagine and contemporize the classic tale about a family whose suburban home is invaded by angry spirits.
Set on Death Row in a Southern prison in 1935, The Green Mile is the remarkable story of the cell block's head guard, who develops a poignant, unusual relationship with one inmate who possesses a magical gift that is both mysterious and miraculous.
Welcome To The World Of Disorganized Crime. For the first time on DVD from comic filmmaker John Hamburg (Meet the Parents Zoolander Along Came Polly Meet the Fockers) comes this offbeat tale of inept lounge singers Sam (Sam Rockwell Lawn Dogs) and Eddie (Steve Zahn Out of Sight) who find themselves breaking into the burglary biz when they're mistaken by a low-level mobster (Paul Giamatti Sideways) for the best safecrackers in town. Now two guys who can't carry a tune are carrying off a series of hysterical heists in this comic gem
Having spent her twenties comfortably inert, 28 year old Megan reaches a crisis when she finds herself squarely in adulthood with no career prospects, no motivation to pursue any and no one to relate to, including her high school boyfriend Anthony.
George Clooney's directorial debut is an adaptation of the cult memoir of TV game show impressario Chuck Barris, in which he purports to have been a CIA hitman!
The camp 70s TV show gets a big screen upgrade, with Drew Barrymore, Cameron Diaz and Lucy Liu as the new Angels and Bill Murray as their trusty ally Bosley.
Five hapless inner-city low-lifes unsuccessfully attempt to burgle a pawnbroker's safe, but wind up gaining more than they lose.
Robert DeNiro leads an acclaimed all-star cast - Drew Barrymore Kate Beckinsale and Sam Rockwell - in Everybody's Fine the heartwarming film that will move you to laughter and tears. When Frank Goode's (DeNiro) grown children cancel a family reunion the recent widower sets off on a cross-country journey to reconnect with each of them. Expecting to share in the joys of their happy successful lives his surprise visits reveal a picture that's far from perfect. A family separated by physical and emotional distance finds a way to come together in a story that will touch your heart.
Arizona, 1873. The small desert town of Absolution is a close-knit yet uptight community where strangers aren’t welcome. The streets are harshly run by iron-fisted Colonel Dolarhyde (Harrison Ford). But when a stranger (Daniel Craig) with no recollection of who he is or where he has come from stumbles into town, Dolarhyde’s power is put to a test. The only clue to this drifter’s past is a mysterious shackle attached to his wrist.Soon after wandering into town the Stranger is captured and held under strict surveillance by Colonel Dolarhyde. But when a space craft lands in Absolution, the town soon comes to the realisation that this lone ranger may be their only hope in the fight to survive this alien invasion.From renowned director Jon Favreau (Made, Iron Man) comes this action-packed extravaganza filled with blistering special effects and witty dark humour. -M.F.
The Sitter may be the last movie featuring the "heavy" version of Jonah Hill. With the many pounds he's since lost, many movie-industry minds are wondering if the Jonah Hill-ness of his screen persona, flaunted so prodigiously in the likes of Knocked Up, Get Him to the Greek, and Superbad, has disappeared from the scales too. But until Jonah 2.0 gets his chance, The Sitter couldn't capture his trash-talking, man-child, king-of-comeback essence more boldly, more lovingly, or with such blatant vulgarity. Hill plays Noah, a jobless twentysomething layabout still living with his divorced mum along with the delusion that he has a hot girlfriend (she only keeps him around for oral talents that are unrelated to speech). As a favour that might help Mum with her own sad love life, he agrees to a one-night babysitting stand for the neighbours and their three wildly dissimilar but equally messed-up children. The night progresses through slapstick, farce, adventure, romance, danger, pathos, and eventual catharsis for everyone. (Unfortunately there's a touch of maudlin, sentimental corn in the mix too.) The children are as important to the escapades as Noah and are the primary source of his stupid/smooth shtick that mixes clever put-downs, terrified jabbering, and hilariously relentless patter of urban slang vernacular. Noah's spoiled charges are two boys--an anxiety-wracked 13-year-old and a 10-year-old Nicaraguan adoptee with severe anger and pyromania issues--and a precocious 8-year-old-girl who's heavily into make-up, hip-hop, and a score of other age-inappropriate behaviours. As the four of them hurtle deeper into the night, the situations become more antically treacherous with drug dealers, gangster thugs, police officers, and upper-crust snobs as part of the mix, along with their knives, cocaine, diamonds, alcohol, and guns. Director David Gordon Green, whose unusual career has gone from art house (George Washington, All the Real Girls) to raunchy bromance (Pineapple Express, Your Highness), supplants formal technique with the off-kilter and oft-unseemly style of Jonah Hill vs. the world. Green sometimes evokes the flow of surreality that Martin Scorsese took to unnatural ends in After Hours, only with more dirty bits and a lot more full-on crude laughs. Nearly everyone in the large supporting cast makes an excellent foil for the star's constant streetwise riffing, especially Sam Rockwell, who digs in to his role as a psychotic but emotionally conflicted drug dealer always on the lookout for new best friends. But it is Jonah Hill who sits firmly, even heavily in the driver's seat. It's a great place to flash his better-honed actorly chops along with his beloved version 1.0 comedic gift. --Ted Fry
No review of Lawn Dogs can adequately describe this extraordinary movie, nor can the title or any simple synopsis. In fact, there's no way of knowing what Lawn Dogs is really about until the very end when the last 90-minutes takes on a whole new significance. The basic story follows the formation and fruition of a simple friendship. Devon (astounding newcomer Mischa Barton) is a 10-year-old girl born to glamour magazine identikit parents who live in the plush US suburban Camelot Gardens Estate. Trent (Sam Rockwell) is a 20-something lawnmower man whom everyone considers trash and who lives in a forest trailer. As secret friends they fill the holes in one another's lives. She has no other friends because she thinks "other kids smell like TV". It's all perfectly sweet and innocent. But naturally there's no way the uptight neighbourhood would perceive it that way. A creeping sense of doom begins to overtake events; but it is where this seemingly obvious tale twists at the end that makes the community's darker quirks a revelation. On the DVD: Lawn Dogs on disc comes in a 16:9 transfer that retains the superb cinematography of endlessly stretching flat horizons. The three-channel sound is equally of benefit to a subtle bluesy score. Regrettably the only extra is a trailer. As a winner at numerous International Film Festivals, this picture really deserved something more. --Paul Tonks
The Sitter may be the last movie featuring the "heavy" version of Jonah Hill. With the many pounds he's since lost, many movie-industry minds are wondering if the Jonah Hill-ness of his screen persona, flaunted so prodigiously in the likes of Knocked Up, Get Him to the Greek, and Superbad, has disappeared from the scales too. But until Jonah 2.0 gets his chance, The Sitter couldn't capture his trash-talking, man-child, king-of-comeback essence more boldly, more lovingly, or with such blatant vulgarity. Hill plays Noah, a jobless twentysomething layabout still living with his divorced mum along with the delusion that he has a hot girlfriend (she only keeps him around for oral talents that are unrelated to speech). As a favour that might help Mum with her own sad love life, he agrees to a one-night babysitting stand for the neighbours and their three wildly dissimilar but equally messed-up children. The night progresses through slapstick, farce, adventure, romance, danger, pathos, and eventual catharsis for everyone. (Unfortunately there's a touch of maudlin, sentimental corn in the mix too.) The children are as important to the escapades as Noah and are the primary source of his stupid/smooth shtick that mixes clever put-downs, terrified jabbering, and hilariously relentless patter of urban slang vernacular. Noah's spoiled charges are two boys--an anxiety-wracked 13-year-old and a 10-year-old Nicaraguan adoptee with severe anger and pyromania issues--and a precocious 8-year-old-girl who's heavily into make-up, hip-hop, and a score of other age-inappropriate behaviours. As the four of them hurtle deeper into the night, the situations become more antically treacherous with drug dealers, gangster thugs, police officers, and upper-crust snobs as part of the mix, along with their knives, cocaine, diamonds, alcohol, and guns. Director David Gordon Green, whose unusual career has gone from art house (George Washington, All the Real Girls) to raunchy bromance (Pineapple Express, Your Highness), supplants formal technique with the off-kilter and oft-unseemly style of Jonah Hill vs. the world. Green sometimes evokes the flow of surreality that Martin Scorsese took to unnatural ends in After Hours, only with more dirty bits and a lot more full-on crude laughs. Nearly everyone in the large supporting cast makes an excellent foil for the star's constant streetwise riffing, especially Sam Rockwell, who digs in to his role as a psychotic but emotionally conflicted drug dealer always on the lookout for new best friends. But it is Jonah Hill who sits firmly, even heavily in the driver's seat. It's a great place to flash his better-honed actorly chops along with his beloved version 1.0 comedic gift. --Ted Fry
The SitterThe Sitter may be the last movie featuring the "heavy" version of Jonah Hill. With the many pounds he's since lost, many movie-industry minds are wondering if the Jonah Hill-ness of his screen persona, flaunted so prodigiously in the likes of Knocked Up, Get Him to the Greek, and Superbad, has disappeared from the scales too. But until Jonah 2.0 gets his chance, The Sitter couldn't capture his trash-talking, man-child, king-of-comeback essence more boldly, more lovingly, or with such blatant vulgarity. Hill plays Noah, a jobless twentysomething layabout still living with his divorced mum along with the delusion that he has a hot girlfriend (she only keeps him around for oral talents that are unrelated to speech). As a favour that might help Mum with her own sad love life, he agrees to a one-night babysitting stand for the neighbours and their three wildly dissimilar but equally messed-up children. The night progresses through slapstick, farce, adventure, romance, danger, pathos, and eventual catharsis for everyone. (Unfortunately there's a touch of maudlin, sentimental corn in the mix too.) The children are as important to the escapades as Noah and are the primary source of his stupid/smooth shtick that mixes clever put-downs, terrified jabbering, and hilariously relentless patter of urban slang vernacular. Noah's spoiled charges are two boys--an anxiety-wracked 13-year-old and a 10-year-old Nicaraguan adoptee with severe anger and pyromania issues--and a precocious 8-year-old-girl who's heavily into make-up, hip-hop, and a score of other age-inappropriate behaviours. As the four of them hurtle deeper into the night, the situations become more antically treacherous with drug dealers, gangster thugs, police officers, and upper-crust snobs as part of the mix, along with their knives, cocaine, diamonds, alcohol, and guns. Director David Gordon Green, whose unusual career has gone from art house (George Washington, All the Real Girls) to raunchy bromance (Pineapple Express, Your Highness), supplants formal technique with the off-kilter and oft-unseemly style of Jonah Hill vs. the world. Green sometimes evokes the flow of surreality that Martin Scorsese took to unnatural ends in After Hours, only with more dirty bits and a lot more full-on crude laughs. Nearly everyone in the large supporting cast makes an excellent foil for the star's constant streetwise riffing, especially Sam Rockwell, who digs in to his role as a psychotic but emotionally conflicted drug dealer always on the lookout for new best friends. But it is Jonah Hill who sits firmly, even heavily in the driver's seat. It's a great place to flash his better-honed actorly chops along with his beloved version 1.0 comedic gift. --Ted Fry CyrusMumblecore auteurs the Duplass brothers (Baghead, The Puffy Chair) dip their toes in the precarious waters of Hollywood by casting well-known actors in Cyrus. But their devotion to clumsy, uncomfortable people remains: John (John C. Reilly, Step Brothers) has barely left his apartment in the seven years since Jamie (Catherine Keener, Lovely & Amazing) divorced him, so Jamie demands he come to a party--where, miraculously, he meets Molly (Marisa Tomei, The Wrestler), who seems like the woman of his dreams. Unfortunately, Molly comes with some baggage: her 22-year-old son, Cyrus (Jonah Hill, Superbad). To say Molly and Cyrus are close is an understatement, and John finds himself in a battle of wills with Molly as the prize. The Duplass brothers seek a kind of cinematic simplicity--to call it purity would be too highbrow for these aggressively pedestrian filmmakers--and when it works, it brings the viewer in intimate contact with life in its ordinary, essential glory. When it doesn't work, it's just dull. Despite its flatfooted plot, Cyrus works pretty well. The higher calibre of the cast helps--Reilly, Tomei, Hill, and Keener are all excellent, and much of the movie is genuinely funny. Don't expect elegance, but sometimes, something plain can please. --Bret Fetzer
Oscar-winning director Ron Howard brings to the screen writer Peter Morgan's electrifying battle between Richard Nixon, the disgraced president with a legacy to save, and David Frost, a jet-setting television personality with a name to make.
Gene Hackman stars as an ex-con who decides to pull off the biggest jewelry heist of his career, but mayhem ensues when the gang of jewel thieves he teams up with turn on him.
Legendary filmmaker Sam Raimi (Spiderman Evil Dead The Grudge) and director Gil Kenan (Monster House) contemporise the classic tale about a family whose suburban home is haunted by evil forces. When the terrifying apparitions escalate their attacks and hold the youngest daughter captive the family must come together to rescue her before she disappears forever.
The setting is a working-class neighbourhood of New York in the 1950s. Among the characters are prostitute Tralala her brutal pimp Vinnie an effiminate homosexual and a corrupt union official. Based on the book by Hubert Selby Jr. this is an extremely disturbing and effective adaption of his once-banned novel.
"Everybody's Fine," follows a widower (De Niro) who embarks on an impromptu road trip to reconnect with each of his grown children only to discover that their lives are far from picture perfect.
Conviction is the inspirational true story of a sister's unwavering devotion to her brother.
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