Oscar winner Kevin Kline plays Mathias a New Yorker who travels to Paris in order to liquidate a very valuable apartment that he has inherited from his late father. However once there he finds a peculiar old woman occupying it (Oscar winner Maggie Smith) and she has more than just a bit of bad news regarding his plans to become wealthy.
There's a kind of perverse marketing genius at work in this cheesy sci-fi hit from 1995 in which scientists create a half-human, half-alien woman named Sil (Natasha Henstridge) who's capable of morphing from a slimy, tentacled creature into a blonde babe with the body of a Playboy centrefold. This makes it easy for Sil to lure gullible guys who are only too willing to indulge her voracious mating urge, realising too late that sex with Sil is anything but safe. As the body count rises, a handpicked team of specialists tracks the alien's killing spree, but their diverse expertise is barely a match for the ever-morphing Sil. Borrowing elements of the Alien movies (including bizarre alien designs by Swedish artist HR Giger) and spicing them up with some tantalising nudity, Species is a wet dream for creature-feature fans--kind of like watching a sci-fi vampire fantasy while browsing through the Sports Illustrated swimsuit issue. --Jeff Shannon, Amazon.com
Hollywood's best-loved star teams up with America's favourite director to create one of the world's most popular films.
They could fuck the human race out of existence!" warns Michael Madsen in this inevitable--and inevitably contrived--sequel to 1995's surprise sci-fi hit. He's referring to a celebrated astronaut (Justin Lazard) infected with alien DNA from his history-making Mars landing, and the half-alien Eve (Natasha Henstridge), who was created from alien-human embryo splicing by biochemist Dr Laura Baker (Marg Helgenberger) in an effort to discover the alien species' vulnerabilities on Earth. While the astronaut sows his gruesomely wild oats with doomed women (resulting in a bevy of creepy kids in alien cocoons), Eve goes into heat until she and the astronaut can consummate their procreative lust. Sex and death are served up like money-shots in a porno flick, with an emphasis on gory flesh-regeneration, explosive pregnancies and slimy-tentacled intercourse. All of which makes this is the kind of derivative schlock that only a true fan could love, but it's boosted to a tolerable level of entertainment by the returning cast (Madsen, Henstridge and Helgenberger) from the previous film. --Jeff Shannon, Amazon.com
Samson and Delilah's world is small - an isolated community in the Central Australian desert. When tragedy strikes they turn their backs on home and embark on a journey of survival. Lost unwanted and alone they discover that life isn't always fair but love never judges.
A space cruiser crashes on a planet that is home to an intergalactic prison.
One of the most heroic and inspirational leaders of World War Two General George S. Patton (George C. Scott) is seriously injured in a car accident just a few weeks after the end of the war and is not expected to survive. This is the story of the last few months of the General's life and the Army Medical Corps efforts to save him. As he lies immobile in a hospital bed surrounded by the pessimistic doctors and his worried wife he waits for death and reminisces about his happy younger days. This film also shows Patton's earlier career as a fledgling tank commander during the First World War.
When it was released in 1994 Four Weddings and a Funeral quickly became a huge international success, pulling in the kind of audiences most British films only dream of. It's proof that sometimes the simplest ideas are the best. In terms of plot, the title pretty much says it all. Revolving around well, four weddings and a funeral (though not in that order), the film follows Hugh Grant's confirmed bachelor Charles as he falls for visiting American Carrie (Andy McDowell), whom he keeps bumping into at various functions. But with this most basic of premises, screenwriter Richard Curtis has crafted a moving and thoughtful comedy about the perils of singledom and that ever-elusive search for true love. In the wrong hands, it could have been a horribly schmaltzy affair, but Curtis' script--crammed with great one-liners and beautifully judged characterisations--keeps things sharp and snappy, harking back to the sparkling Hollywood romantic comedies of the 1930s and 1940s. The supporting cast, including Kristin Scott Thomas, Simon Callow and Rowan Atkinson (who starred in the Curtis-scripted television show Blackadder) is first rate, at times almost too good--John Hannah's rendition of WH Auden's poem "Funeral Blues" over the coffin of his lover is so moving you think the film will struggle to re-establish its ineffably buoyant mood. But it does, thanks in no small part to Hugh Grant as the bumbling Charles (whose star-making performance compensates for a less-than-dazzling Andie MacDowell). Though it's hardly the fault of Curtis and his team, the success of the Four Weddings did have its downside, triggering a rash of inferior British romantic comedies. In fact, we had to wait until 1999's Notting Hill for another UK film to match its winning charm (scripted, again, by Curtis and also starring Grant). --Edward Lawrenson
In the urban jungle of nocturnal New York Charlie traumatized by the violent gay bashing of his lover Chris by a darkly sexy thug has become a lost soul. He wanders the city in wide-eyed confusion a lonely man with both pent-up anger and sexual desire bubbling within him. With memories invading his mind Charlie hits the streets visiting an old friend having a quick but screwed-up sexual encounter and meeting a variety of strange storied characters. But he remains steadfast in his search for the man who ended his happiness. The intricately structured film builds to intensity as Charlie finds befriends and is forced to decide the fate of the man he lusts and loathes.
Master filmmaker Bernardo Bertolucci applies his considerable talent to this haunting adaptation of the Paul Bowles novel. John Malkovich and Debra Winger play Port and Kit Moresby, characters loosely based on Bowles and his wife Jane, who flee New York for North Africa, where they hope to find mystical truths that will reignite the spark of their marriage. But instead they lose their moral bearings (with help from a friend, played by Campbell Scott, who has an affair with Kit) while travelling deeper and deeper into the Sahara. Before long, what started as a vacation at exotic lodgings has descended into a tour of hell, as they stumble farther and farther into an unknowable spiritual territory. Though long and at times slow-moving, The Sheltering Sky features marvellously nuanced acting by Malkovich and Winger and visionary filmmaking that makes the landscape at once picturesque and threatening. --Marshall Fine
Theres no getting around it: there was simply no better summer blockbuster in 2007 than the astonishing The Bourne Ultimatum. Its a film that defies expectations in many ways. Firstly, its a third entry in a trilogy that by some distance in the best in an already-compelling franchise. Secondly, whenThe Bourne Ultimatum kickstarts with a ferocious energy and pace, you sit there and rightly expect it not to keep the momentum going. But it does. And does it astonishingly well. Just witness the breathless sequence through Waterloo Station, convince yourself that the film has peaked then, then go and watch them top it later on in the movie. The film itself has many trump cards, not least its leading man. Matt Damon fits the character of reluctant lead Jason Bourne perfectly, but the trick is to give him some excellent supporting players to work against. Thus, The Bourne Ultimatum also stars the excellent pair of David Straitharn and a returning Joan Allen, along with Albert Finney, Paddy Considine and Julia Stiles too. But the hidden hero of The Bourne Ultimatum is director Paul Greengrass. Arguably one of the most interesting and talented directors working today (he was rightly Oscar-nominated for his haunting United 93), Greengrass has fashioned a genuinely thrilling action thriller, that bursts with an energy and relentlessness that you simply have no right to expect. That he also managed to wrap up the story Jason Bournes quest for his identity in the midst of it is all the more astonishing. A terrific end to an already-impressive trilogy, theres little else ot say about The Bourne Ultimatum, which is simply a near flawless piece of blockbuster entertainment. Put simply: dont miss this movie. --Simon Brew
A collection of 5 films based on murder mystery novels by Mary Higgins Clark. Includes: 1. A Crime Of Passion 2. Before I Say Goodbye 3. Try To Remember 4. The Cradle Will Fall 5. I'll Be Seeing You
Aliens are intent of devouring all the magic on Earth. One 16-year-old boy stands in their way.;Tom Clarke (Scott Haran) is a seemingly ordinary boy who loves football. He lives with his dad Michael (Michael Higgs) and grandmother Ursula (Annette Badland) in an ordinary house in an ordinary street - but there's something different about Tom. He has an astonishing secret - his family are Wizards! When the alien Nekross arrive on Earth hungry for magic there's big big trouble in store for all wizardkind. With the help of his friend and science super-brain Benny (Percelle Ascott) Tom must stop them - but will these two unlikely heroes succeed or will the Nekross devour all the magic on Earth with disastrous results for the whole planet?;Extras include: deleted scenes bloopers photo gallery
In this terrorizing instalment, Hoffman is seemingly the last person alive to carry on the Jigsaw legacy. But when his secret is threatened, Hoffman must go on the hunt to eliminate all loose ends...
Randolph Scott stars in this classic Western from 1949, directed by Edwin L. Marin. Scott plays Jim Dancer, one of Quantrill's Raiders, staging attacks on Kansas on behalf of the fallen Confederacy in the years following the Civil War. During one raid, Dancer kills the man he holds responsible for the death of his brother. The dead man was innocent, and Dancer becomes a fugitive. Months later, he resurfaces, under a stolen identity, as the Marshal of a lawless Kansas town. With the help of...
Sought by the greed of Men since the dawn of Humankind but only bestowed upon the woman whose fate it forever scars - the Witchblade. Is it the Righteous Sword of God or the Hand of the Devil Himself? Now a new bearer has been chosen and she must discover the answers for herself. As she stands on the brink of destiny she is forced to seek the balance between ecstasy and ruin... Masane Amaha is a woman on the fringe of society bouncing rootless from town to town with her daughter Rihoko. She struggles to build a life for her family with no memory of the past and no clue as to what the future holds. But upon their arrival back in Tokyo forces conspire to separate parent from child unleashing the fury of the Witchblade. The young mother will find herself conscripted into the service of the Doji Group and hunted down by the emissaries of the NSWF all while seeking to balance the weight of this forced duality.
The Bigger they are... The harder they fall
One of the greatest screen biographies ever produced, Patton is a monumental film that won seven Academy Awards and gave George C Scott the greatest role of his career. It was released in 1970 when protest against the Vietnam War still raged in the States and abroad. Inevitably, many critics and filmgoers struggled to reconcile the events of the day with the film's glorification of US General George S Patton as a crazy-brave genius of World War II; how could a film so huge in scope and so fascinated by its subject be considered an anti-war film? The simple truth is that it's not--Patton is less about World War II than about the rise and fall of a man whose life was literally defined by war and who felt lost and lonely without the grand-scale pursuit of an enemy. George C Scott embodies his role so fully, so convincingly, that we can't help but be drawn to and fascinated by Patton as a man who is simultaneously bound for hell and glory. The film's opening monologue alone is a masterful display of acting and character analysis and everything that follows is sheer brilliance on the part of Scott and director Franklin J Schaffner, aided in no small part by composer Jerry Goldsmith's masterfully understated score. Filmed on an epic scale at literally dozens of European locations, Patton does not embrace war as a noble pursuit, nor does it deny the reality of war as a breeding ground for heroes. Through the awesome achievement of Scott's performance and the film's grand ambition, General Patton shows all the complexities of a man who accepted his role in life and (like Scott) played it to the hilt. --Jeff Shannon, Amazon.comOn the DVD: The widescreen print of the movie (which was originally filmed using a super-wide 70mm process called "Dimension 150") is handsomely presented on the first disc, with a remastered Dolby 5.1 soundtrack. It is accompanied by a rather dry "Audio essay on the historical Patton" read by the president and founder of the General George S. Patton Jr. historical society. The second, supplementary disc carries a new and impressive 50-minute "making-of" documentary, with significant contributions from Fox president Richard Zanuck, as well as composer Jerry Goldsmith and Oliver Stone. Director Franklin J. Schaffner (who died in 1989) and star George C. Scott are heard in interviews from 1970. In the documentary, Stone provocatively complains that Patton glorified war and that President Nixon's enthusiasm for the movie was directly responsible for his decision to invade Cambodia. Also on this disc, in a separate audio-only track, is Jerry Goldsmith's magnificent music score--one of his greatest achievements--heard complete with studio session takes for the famous "Echoplex" trumpet figures. --Mark Walker
Che Guevara
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