The complete second series of the salon-set drama. After making her choice of Finn over her husband Gavin Allie returns to Manchester to find that Gavin is making the most of his newfound single life. As she has been pushed out of Henshall Ferraday Finn buys a new health and beauty spa for her to run but Allie realises that her talents are better suited to running her own hairdressing salon. To complicate matters Finn's ex wife Mia sets out to win him back at all costs and Gavin e
Some people can buy their way out of anything. Except the past. Paul Newman plays Harry Ross a burned-out private eye who's plunged into a murder mystery tied to a long-unsolved case of Hollywood dreams schemes and cover-ups. Susan Sarandon and Gene Hackman are among the locals who inhabit a Tinseltown world of privilege and sleaze sexuality and desperation trust and double-cross.
ROAD TO PALOMA stars Jason Momoa (Conan the Barbarian, Game of Thrones) as Wolf who is being pursued by the FBI for having taken the law into his own hands after his mother is brutally murdered.
Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna and Helena Bonham Carter team up in the action adventure Ocean's 8.Five years, eight months, 12 days...and counting. That's how long Debbie Ocean (Sandra Bullock) has been devising the biggest heist of her life.She knows what it's going to takea team of the best in their field, starting with her partner-in-crime Lou Miller (Cate Blanchett). Together, they recruit a crew of specialists: jeweller Amita (Kaling); street con Constance (Awkwafina); expert fence Tammy (Paulson); hacker Nine Ball (Rihanna); and fashion designer Rose (Bonham Carter).
Mayans M.C. is the next chapter in Kurt Sutter's award-winning Sons of Anarchy saga. In a post-Jax Teller world, Ezekiel EZ Reyes (JD Pardo) is fresh out of prison and a prospect in the Mayans M.C. charter on the Californian/Mexican border. Now, EZ must carve out his new identity in a town where he was once the golden boy with the American dream in his grasp.
A new restoration of Joseph Loseys 1963 masterpiece The Servant. Adapted from Robin Maugham's short story, The Servant marked the first of three collaborations between Joseph Losey and celebrated playwright Harold Pinter. Nominated for five BAFTA's and winning three, including best actor for Dirk Bogarde and Best Cinematography for Douglas Slocombe, The Servant is notable for its ambitious technique and its willingness to engage with issues that were, at the time, never seen in British cinema. Experienced manservant Barrett (Dirk Bogarde) starts working for foppish aristocrat Tony (James Fox) in his smart new townhouse. Much to the annoyance of Tony's girlfriend (Wendy Craig), Barrett slowly initiates himself into the house and begins to manipulate his master. Extras: NEW: Locations featurette with Adam Scovell NEW: Video essay with Film Historian Matthew Sweet and Film Critic Phuong Le Trailer Stills Gallery Interview with Wendy Craig Interview with Sarah Miles Interview with Stephen Woolley Harry Burton on Harold Pinter John Coldstream on Dirk Bogarde Audio Interview with Douglas Slocombe conducted by Matthew Sweet Joseph Losey & Adolphus Mekas at the New York Film Festival in 1963 Harold Pinter Tempo Interview Joseph Losey Talks About The Servant James Fox Interviewed by Richard Ayoade
Raymond Chandler's hard boiled novel is brought to the screen with sleuth Phillip Marlowe finding himself involved with murder blackmail and violence when hired to protect a General's young daughter.
Series 3 of Cutting It. Mother and daughter Allie and Ruby (Sarah Parish and Lucy Gaskell) are both heavily pregnant to the same man - but how long will the secret remain under wraps? Allie and Finn return from a weekend away in Naples with a shock announcement - they are now married! With Gavin (Jason Merrells) still in love with Allie Ruby set on winning him for herself and Finn desperate to get Gavin out of the way the Henshall's future is anything but cut and dried. Add to that
Sugar & Spice is a broad satire of American high-school hierarchy set to a sparkling pop soundtrack and featuring many, many shots of cute cheerleaders in tight sweaters and short skirts. "Their cheer blew like a bulimic after Christmas dinner", sneers Lisa (Marla Sokoloff from Dude, Where's My Car?), a bitter B-squad cheerleader who has it in for the A-squad. She's come to the police to solve the mystery of a local bank robbery--a story that begins when head cheerleader Diane (Marley Shelton) and star quarterback Jack (James Marsden) fell in love. Before you know it, Diane's knocked up--but she and Jack are delighted and decide to get married. Their parents disown them immediately, so the young couple ends up in a crappy apartment, working low-wage jobs. They're both so unrelentingly earnest and cheerful that they won't lose heart, but Diane soon realises that their incomes won't support their impending twins. Then, one night as she and her squad (including Mena Suvari of American Beauty) are watching Point Break, they get the idea to rob a bank. The cast is enthusiastic: Sokoloff in particular savouring her atypically nasty role, and there are cameos by Jerry Springer, Kurt Loder, and an almost unrecognisable Sean Young. --Bret Fetzer, Amazon.com
Lucas a bank robber newly released from prison is given a lift to the bank by two local cops who are taking bets on how long they think he'll remain straight. Once inside the bank Lucas is taken hostage by an amateur thief and is forced into going on the run with the man and his six-year-old daughter...
An ex-assassin and a wealthy programmer save lives via a surveillance AI that sends them the identities of civilians involved in impending crimes. However, the details of the crimes--including the civilians' roles--are left a mystery.
Our hopes. Our dreams. Our stories. A young athlete whose running days might be behind her, a compulsive liar, a shy researcher, a bitter old woman, and a little girl with a big secretthe only thing they have in common is the annual Wind Festival in Fula City. The festival celebrates the Legendary Pokémon Lugia, who brings the wind that powers this seaside city. When a series of threats endangers not just the festival, but all the people and Pokémon of Fula City, it'll take more than just Ash and Pikachu to save the day! Can everyone put aside their differences and work togetheror will it all end in destruction?
Set from 1965 to 1971, the show follows Endeavour Morse in his early years as a police constable. Working alongside his senior partner DI Fred Thursday, Morse engages in a number of investigations around Oxford.
A modern teenager is transported to Elizabethan times and soon finds herself trying to save Mary Queen of Scots! When Penelope Taberner goes to stay with her Uncle Barnabas and Aunt Tissie on their remote, ancient, Derbyshire farm, she begins to see spooky visions. Travelling back to Tudor times, she soon uncovers a plot to free Mary Queen of Scots in order to overthrow Elizabeth I. And her very own ancestors, the Babington family, are responsible for the treason. Penelope already knows the tragic fate that awaits the Scottish Queen but can she stop history from following its natural course? This mysterious and charming drama was written by the beloved Little Grey Rabbit author Alison Uttley and was inspired by the real life Babington Plot.
Tom Hardy (Bruce Willis) is a fifth generation Pittsburgh cop. Formerly a homicide detective he publicly challenged the police department including several of his family members about the identity of the serial killer who took his father's life. Convinced that a newly active serial killer is the same gunman who murdered his father - despite the fact that another man is already behind bars for that crime - Hardy is working out of his jurisdiction to catch the killer. The maverick
The Salon's thriving and Allie wants to expand and open her own hairdressing academy bringing on a new generation of hairdressers. The venture has financial backing from Liam Carney (James Murray) an ex-boy-band member who's trying to shake off the trappings of his past life with mixed success. Allie's dreams are the least of her concern when she finds out that she has Ovarian cancer but how will Gavin react? Featuring all the episodes of series 4.
FBI agent Malcolm Turner goes undercover as Big Momma in this hit comedy sequel.
The fifth season of Joss Whedon's hit series started out in excellent form as slayer extraordinaire Buffy Summers (Sarah Michelle Gellar) did battle with the most famous of vampires (that Dracula guy) and then went on to spar with another nemesis, little sister Dawn (Michelle Trachtenberg). Wait--Buffy has a teenage sister? Where has she been the past four years? And why is everyone acting like she's always been around? Turns out that young Dawn is actually "The Key," a form of pure energy that, true to its name, helps open the gates between different dimensions. To protect said key from falling into the wrong hands, a group of monks gave it human form and sent it to the fiercely protective Buffy for safekeeping, creating new memories of Dawn for everyone as if she'd existed... well, always. Why all the super secrecy? There's this very, very, very bad girl named Glory (Clare Kramer) who wants the key very badly, and will do anything to get it. Oh, and by the way, Glory isn't just a run-of-the-mill demon... she's way worse. Some fans will tell you that Buffy "jumped the shark" with the introduction of Dawn, when in actuality this season was the pinnacle of the show's achievement, as there was superb comedy to be had ("Buffy Vs. Dracula," the double-Xander episode "The Replacement," the introduction of the "Buffybot" in "Intervention") as well as some of television's best drama. The Whedon-scripted and -directed "The Body" remains one of Buffy's best episodes, when the young woman who faces down supernatural death on a daily basis finds herself powerless in the wake of her mother's sudden passing. The first third or so of the season was a bit choppy, but once the evil Glory came into her own, Buffy was a television force to be reckoned with. Kramer was the show's best villain (after the evil Angel, natch), and the supporting cast was never better. But as always, it was the superb Gellar who was the powerful centre of the show, sparking opposite lovelorn vampire Spike (James Marsters) and wrestling with moral dilemmas rarely seen on television. With this season, Buffy Summers became, like Tony Soprano, one of television's true greats. --Mark Englehart
From its charming and angst-ridden first season to the darker, apocalyptic final one, Buffy the Vampire Slayer succeeds on many levels, and in a fresher and more authentic way than the shows that came before or after it. How lucky, then, that with the release of its boxed set of seasons 1-7, you can have the estimable pleasure of watching a near-decade of Buffy in any order you choose. (And we have some ideas about how that should be done.) First: rest assured that there's no shame in coming to Buffy late, even if you initially turned your nose up at the winsome Sarah Michelle Gellar kicking the hell out of vampires (in Buffy-lingo, vamps), demons, and other evil-doers. Perhaps you did so because, well, it looked sort of science-fiction-like with all that monster latex. Start with season 3 and see that Buffy offers something for everyone, and the sooner you succumb to it, the quicker you'll appreciate how textured and riveting a drama it is. Why season 3? Because it offers you a winning cast of characters who have fallen from innocence: their hearts have been broken, their egos trampled in typically vicious high-school style, and as a result, they've begun to realise how fallible they are. As much as they try, there are always more monsters, or a bigger evil. Despite this, or perhaps because of it, the core crew remains something of a unit--there's the smart girl, Willow (Alyson Hannigan) who dreams of saving the day by downloading the plans to City Hall's sewer tunnels and mapping a route to safety. There are the ne'r do wells--the vampire Spike (James Marsters), who both clashes with and aspires to love Buffy; the tortured and torturing Angel (David Boreanz); the pretty, popular girl with an empty heart (Charisma Carpenter); and the teenage everyman, Xander (Nicholas Brendon). Then there's Buffy herself, who in the course of seven seasons morphs from a sarcastic teenager in a minidress to a heroine whose tragic flaw is an abiding desire to be a "normal" girl. On a lesser note, with the boxed set you can watch the fashion transformation of Buffy from mall rat to Prada-wearing, kickboxing diva with enviable highlights. (There was the unfortunate bob of season 2, but it's a forgivable lapse.) At least the storyline merits the transformations: every time Buffy has to end a relationship she cuts her hair, shedding both the pain and her vulnerability. In addition to the well-wrought teenage emotional landscape, Buffy deftly takes on more universal themes--power, politics, death, morality--as the series matures in seasons 4-6. And apart from a few missteps that haven't aged particularly well ("I Robot" in season 1 comes to mind), most episodes feel as harrowing and as richly drawn as they did at first viewing. That's about as much as you can ask for any form of entertainment: that it offer an escape from the viewer's workaday world and entry into one in which the heroine (ideally one with leather pants) overcomes demons far more troubling than one's own. --Megan Halverson
Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak
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