THE ORIGIN STORY OF THE TEXAS CHAINSAW MASSACRE. Starring Stephen Dorff (Blade, Public Enemies) and Lili Taylor (The Conjuring). A young nurse is kidnapped by four violent teens after they escape from a psychiatric hospital, and take her on a road trip to hell. Pursued by an equally deranged, trigger-happy lawman out for revenge, one of these teens is destined for tragedy and horrors that will destroy his mind moulding him into the monster we now know as Leatherface. Also starring Sam Strike (We Still Steal the Old Way), Finn Jones (Game of Thrones, Iron Fist), Sam Coleman (Game of Thrones). From the directors of the extreme French masterpiece Inside.
Gene Hackman and Willem Dafoe star in Mississippi Burning, a well-intentioned and largely successful civil-rights-era thriller. Using the real-life 1964 disappearance of three civil rights workers as its inspiration, the film tells the story of two FBI men (Hackman and Dafoe, entertainingly called "Hoover Boys" by the locals) who come in to try to solve the crime. Hackman is a former small-town Mississippi sheriff himself, while Dafoe is a by-the-numbers young hotshot. (Yes, there is some tension between the two.) The movie has an interesting fatalism, as all the FBI's best efforts simply incite more and more violence--the film's message, perhaps inadvertently, seems to be that vigilantism is the only real way to get things done. The brilliant Frances McDormand, here early in her career, is not given enough to do but still does it well enough to have racked up an Oscar nomination for Best Supporting Actress. (Hackman also received a nomination for Best Actor, and the film won an Academy Award for Cinematography). Mississippi Burning is ultimately unsatisfying--it is, after all, the story of white men coming in to rescue poor blacks--but it is beautifully shot and very watchable, featuring a terrific cast playing at the top of their games. --Ali Davis, Amazon.com
The world's most renowned fictional lawyer is back on the case in this exciting HBO series that tells the origin story of master criminal defence attorney Perry Mason. Set in 1932 Los Angeles, this edgy, noirish update puts a new spin on the iconic character created by Erle Stanley Gardner and made famous by the classic TV show that ran from 1957 to 1966. The series begins with Mason (Matthew Rhys) living paycheck to paycheck as a low-rent private investigator who's haunted by his wartime experiences and managing the fallout of a broken marriage. During eight twisty, cliff-hanger episodes, Mason is determined to do what's righteven when it's not necessarily legalas he digs into a controversial and politically loaded case, exposing a fractured city and a possible police coverup. The stellar cast includes John Lithgow, Tatiana Maslany, Juliet Rylance, Chris Chalk and Shea Whigham.
The world's most renowned fictional lawyer is back on the case in this exciting HBO series that tells the origin story of master criminal defence attorney Perry Mason. Set in 1932 Los Angeles, this edgy, noirish update puts a new spin on the iconic character created by Erle Stanley Gardner and made famous by the classic TV show that ran from 1957 to 1966. The series begins with Mason (Matthew Rhys) living paycheck to paycheck as a low-rent private investigator who's haunted by his wartime experiences and managing the fallout of a broken marriage. During eight twisty, cliff-hanger episodes, Mason is determined to do what's righteven when it's not necessarily legalas he digs into a controversial and politically loaded case, exposing a fractured city and a possible police coverup. The stellar cast includes John Lithgow, Tatiana Maslany, Juliet Rylance, Chris Chalk and Shea Whigham.
The Flintstones in Rock Vegas sees best pals Fred (Mark Addy) and Barney (Stephen Baldwin) downing tools at Bedrock Mining Company to woo Wilma (Kristen Johnston) and Betty (Jane Krakowski) during a long vacation in Rock Vegas. All goes well until Fred's gambling addiction gets the better of him and he is framed for stealing Wilma's prized pearl necklace by love rival Chip Rockerfeller (Thomas Gibson) who oozes malice out of every prehistoric pore. Meanwhile Wilma's high fallutin mother Pearl (Joan Collins taking over from Elizabeth Taylor) thinks that Fred is too downmarket for her daughter and does everything within her power to push Wilma and Chip together...
The Flintstones: After an aptitude test mix-up Fred Flintstone (John Goodman) trades his job as Slate & Company Bronto-crane operator for a vice presidency. But there's trouble brewing in Bedrock: An evil executive (Kyle MacLachlan) and his sinister secretary (Halle Berry) are now plotting to use Fred as the fall guy in an embezzlement scheme! (Dir. Brian Levant 1994) The Flintstones Viva Rock Vegas: Best pals Fred (Mark Addy) and Barney (Stephen Baldwin) down tools at Bedrock Mining Company to woo Wilma (Kristen Johnston) and Betty (Jane Krakowski) during a long vacation in Rock Vegas. All goes well until Fred's gambling addiction gets the better of him and he is framed for stealing Wilma's prized pearl necklace by love rival Chip Rockerfeller (Thomas Gibson) who oozes malice out of every prehistoric pore. Meanwhile Wilma's high fallutin mother Pearl (Joan Collins taking over from Elizabeth Taylor) thinks that Fred is too downmarket for her daughter and does everything within her power to push Wilma and Chip together... (Dir. Brian Levant 2000)
A successful businessman who has everything discovers that he has cancer and may not live to see his new baby...
With the original conspiracy plot arc fallen into a muddle of loose ends no-one could possibly fathom, once-hungry lead actors on the verge of big screen careers and making demands for more time off or shots at writing and directing, and the initial wish list of monsters-of-the-week long exhausted, it's a miracle The X Files is still making its airdates, let alone managing something pretty good every other show and something outstanding at least once every four episodes. Season seven opens with a dreary two-parter ("Sixth Extinction" and "Amor Fati") and winds up with the traditional incomprehensible cliffhanger ("Requiem"), but along the way includes a clutch of shows that may not match the originality of earlier seasons but still effortlessly equal any other fantasy-horror-sf on American television. Highlights in this clutch: "Hungry", a brain-eating mutant story told from the point of view of a monster who tries to control his appetite by going to eating disorder self-help groups; "The Goldberg Variation", a crime comedy about a weaselly little man who has the gift of incredible good luck, which means Wile E Coyote-style doom for anyone who crosses him; "The Amazing Maleeni", guest-starring Ricky Jay in a rare non-fantastic crime story about a feud between stage magicians that turns out to be a cover for a heist; "X-Cops", a brilliant skit on the US TV docusoap Cops with Mulder and Scully caught on camera as they track an apparent werewolf in Los Angeles (season-best acting from David Duchovny and Gillian Anderson); "Theef", a complex revenge drama with gaunt Billy Drago as a hillbilly medicine man stalking a slick doctor; "Brand X", a horror comic tale of corruption in the tobacco industry; "Hollywood AD" (written and directed by Duchovny), in which Tea Leoni and Garry Shandling are cast as Scully and Mulder in a crass movie version of a real-life X file; and "Je Souhaite", a deadpan comedy about a wry, cynical genie at the mercy of trailer trash masters who haven't an idea what to wish for. Among the disasters are: "Fight Club", a grossly laboured comedy; "All Things", Gillian Anderson's riotously pretentious religious-themed writing-directing debut; "En Ami", written and understood by William B Davis, the cigarette-smoking villain; and the very silly "First Person Shooter", the lamest killer video-game plot imaginable courtesy of distinguished guest writer William Gibson. Still essential, despite the occasional pits, but yet again you go away thinking that the next season had better come up with some answers. --Kim Newman
Douglas's magnificent, award-winning Trilogy is the product of an assured, formidable artistic vision. These are some of the most compelling films about childhood ever made. Presented here in a High-Definition restoration, the Trilogy follows Jamie (played with heart-breaking conviction by Stephen Archibald) as he grows up in a poverty-stricken mining village in post-war Scotland. This is cinematic poetry: Douglas contracted his subject matter to the barest essentials - dialogue is kept to a minimum, and fields, slag heaps and cobbled streets are shot in bleak monochrome. Yet with its unexpected humour and warmth, the Trilogy brims with clear-eyed humanity, and affection for an ultimately triumphant young boy.
Fred Flintstone (Mark Addy) and Barney Rubble (Stephen Baldwin) are two of Bedrock s most confirmed bachelors. Wilma Slaghoople (Kristen Johnston) and Betty O Shale (Jane Krakowski) are two of the towns hottest single babes. In this prehistoric comedy of boy meets girl, see how it all began as Fred and Barney set to win the hearts of their favourite gals on a romantic getaway to exciting Rock Vegas . With meddling fron Wilma s socialite mother (Joan Collins), as well as competition from tycoon Chip Rockefeller, Fred just might need a little help from his friends to beat the odds and win the most important game of all...love.
London's Tubes: cylindrical objects underground crammed full of blank faces with blank pasts and blank futures. However, Tube Tales endeavours to expel this theory, even if it's just for the length of time it takes nine short stories to flicker past your eyes. Created via a competition in Time Out magazine, which asked their readers to send in stories relating to experiences on the London Underground, a group of directors were then charged with the task of bringing the public' s images of the tube to life for 12 minutes each. Showcased at the London Film Festival 1999 and then moving on to be shown on Sky Premier a few days later (this being the first film Sky has produced) it is possibly one of the most intriguing and underrated dramas to come out of Britain at the turn of the new century. These films offer a great showcase for British talent, combining established stars like Ray Winston in "My Father the Liar" with new up-and-coming actors like Hans Matheson in "Steal Away", the film also offers a great chance to play spot-the-star. Along with this Tube Tales offers many actors their first chance to try out their talents behind the lens with directorial debuts from Ewan McGregor-"Bone", a beautiful story of a man's fleeting obsession with a photograph--and Jude Law--"A Bird in the Hand", which brings a little bit of nature back to the Cement City. Both these directors choose to offer very calm and ambling visuals with little dialogue (how many people actually talk to strangers on the Tube?), allowing the power of images and body language to take hold. In another way Bob Hoskins "My Father the Liar" and Gaby Dellal's "Rosebud" offers us a version of the tube through the eyes of a child, a place populated by innocents and full of terror. In diverse contrast are the offerings from Armando Iannucci ("Mouth") and Stephen Hopkins ("Horny"), who both offer a grotesque humoristic interpretation of their stories. However, the true showpiece of these films is the last, Charles McDougall's "Steal Away", an energetic and exuberant piece which turns into a spiritual journey. Many of these films wash over your emotions, evoking laughter, innocence and desire, but "Steal Away" leaves you with strong opinions on the nature of humanity. Nikki Disney On the DVD: The special features are predictably laid out like a tube map. Given the wealth of talent on display in Tube Tales the disc is happily littered with interviews, trailers and on-location features, offering opinions and theories on the Tube from the huge cast and crew that went into the making of these films. Picture and sound quality are impeccable.
Special agent Jeremy Reins comes round in the boot of a car. He's trapped and it soon becomes clear his captors won't set him free until he discloses classified government information he has sworn to protect.
Guided by their strict yet level headed father George (Bruce McGill) and supported by mother Olive (Veronia Cartwright) the Osmond Brothers Group consisting of Alan Wayne Merrill Jay and young Donny are looking to make it big on their own in the world of Rock and Roll. But due to their squeaky clean religious image the future looks dim. Enter Mike Curb a major record label owner who has faith in the Osmond Brothers. With your Marie and Jimmy destined to join them and a number one hit in the states this original boy band begins a meteoric rise to international stardom...
It has become traditional for The X-Files to kick off each new season with a humourless conspiracy two-parter, and Season 9 is no exception: in The X Files: Nothing Important Happened Today David Duchovnys Mulder is gone, along with everything in his apartment, and Gillian Andersons Scully is mostly at home with her perhaps-telekinetic baby, which leaves the bulk of the investigation to promising new characters Doggett (Robert Patrick) and Reyes (Annabeth Gish).The A-plot features Lucy Lawless as a water-breathing terminatrix who could be an alien, a government experiment or a mermaid without it making any difference, but too much time is spent on impossible-to-follow subplots about internal FBI politics and everyones intricate backstory (if ever a release needed a "previously..." prologue, this is it). Usually, the series gets over these heart-sinking openers and livens up a bit, but this time theres a feeling that this is the end of the line for a thoroughly battered premise.Chris Carter joins Gene Roddenberry in the exclusive category of producer-creators who turn in the worst scripts for their own shows, and all the strengths of The X-Files (shivers, wit, provocative ideas) are missing in action here as the engine grinds on empty.On the DVD: The X-Files: Nothing Important Happened Today on disc arrives with two three-minute filler featurettes, focusing on Gishs character and the making of this show. The good news is that this anamorphic widescreen release is the best The X-Files has ever looked in a television format, showing that however dramatically exhausted it might be, the show remains technically impressive. --Kim Newman
As with earlier releases, The X-Files: Providence splices together two episodes, "Provenance" and "Providence", into a pseudo-movie. Again, the results fall way below the series average as the long-dead alien conspiracy business is flogged, with a lot of running around and ominous rumbling still not adding up to anything like an actual story. FBI agent Neal McDonaugh (of Minority Report) inexplicably survives a flaming motorcycle crash, leaving behind brass rubbings taken from an alien spaceship, then shows up and tries to murder Scully's psychokinetic baby, who is promptly kidnapped by a UFO cult. In Part 2, Scully (Gillian Anderson) and Reyes (Annabeth Gish) fend off enemies and friends within the bureau as they track down the cultists, who are having trouble with a spaceship they've dug up, and a typical pointless climax has things happen without the characters doing anything to contribute. Even at this late, post-Duchovny stage in the game, The X-Files has turned out some fine stand-alone episodes, but these dreary wallowings go a long way towards explaining why only diehards are still watching. After the child says "I made this" at the end of the credits, it's becoming very hard not to shout "well, clean it up then". On the DVD: The X-Files: Providence, as with Nothing Important Happened Today, arrives in a great-looking anamorphic widescreen transfer. There are two slight promotional "featurettes"--three-minute clips/talking heads promos focusing on the episode "Providence" and actor Cary Elwes' character. --Kim Newman
Kids will enjoy the dinosaurs, gaudy prehistoric decor, and cartoon humour of The Flintstones in Viva Rock Vegas; but adults will find fewer morsels of entertainment, although the sly performance of Alan Cumming (Eyes Wide Shut) as the Great Gazoo, an alien sent to Earth to observe human mating behaviour is a highlight. The movie begins before Fred (Mark Addy from The Full Monty) and Wilma (Kirsten Johnston from Third Rock from the Sun) Flintstone ever met, back when Wilma was an unhappy rich girl seeking happiness in a less snobby environment. Running away from her smothering mother (Joan Collins!) and an oily suitor, Chip Rockefeller (Thomas Gibson from Dharma and Greg), she winds up at a drive-in restaurant where she meets Betty (Jane Krakowski from Ally McBeal), a waitress who thinks Wilma is actually homeless and invites the runaway to live with her. Our blue-collar heroes, Fred and Barney Rubble (Stephen Baldwin from The Usual Suspects), ask the girls out on a double date, and before long Fred and Wilma bond over bowling. But it turns out that Chip is in debt to a ruthless loan shark and needs Wilma's money, so he invites the couples to his new casino in Rock Vegas, where he plots nefariously to ruin their blossoming love. The plot holds no surprises and the dialogue is clumsy, but there's a blithe dimwittedness to the whole affair that makes it curiously inoffensive. --Bret Fetzer, Amazon.com
The sixth series of The X-Files picks up after the events of the big-screen movie. So it is that "The Beginning" attempts to fit the film into the TV chronology before moving on to tackle plot points left dangling from series five's "The End" (note the guard asleep at the nuclear power plant console is named Homer!). Between story arc threads are several pleasing one-off excursions: time travel to a Bermuda Triangle boatload of Nazis ("Triangle"); further temporal escapades akin to Groundhog Day ("Monday"); a demonic baby case featuring genre stalwart Bruce Campbell ("Terms of Endearment"); and "The Dreamland, Parts 1 and 2", in which David Duchovny gets to play someone else via personality switching. Back in the conspiracy scheme of things, Mulder chases "S.R. 819", a Senate resolution tying conspiracies together; "Two Fathers" and "One Son" indicates that the abductee experiments are intended to cure the black oil disease; and the year finishes with "BioGenesis", in which a beach-buried UFO has Scully and the audience wondering if we are from Mars. --Paul Tonks
""Douglas' magnificent award-winning Trilogy is the product of an assured formidable artistic vision. These are some of the most compelling fimls about childhood ever made.The films narrative is largely autobiographical following Jamie - eight years old when we first meet him - as he grows up in a poverty-stricken mining village in post-war Scotland. These are brutal surroundings and Jamie is subject to hardship and rejection at the mercy of the relatives and neighbours responsible for his welfare. Through these films we see Jamie grow from child to adolescent; angry bewildered and violent yet playful affectionate and full of imagination. Set Comprises: My Childhood (1972 48 mins) My Ain Folk (1973 55 mins) My Way Home (1978 72 mins)
In Season 4 of The X-Files, Scully is a bit upset by her on-off terminal cancer and Mulder is supposed to shoot himself in the season finale (did anyone believe that?), but in episode after episode the characters still plod dutifully around atrocity sites tossing off wry witticisms in that bland investigative demeanour out of fashion among TV cops since Dragnet. Perhaps the best achievement of this season is "Home", the most unpleasant horror story ever presented on prime-time US TV. It's not a comfortable show--confronted with this ghastly parade of incest, inbreeding, infanticide and mutilation, you'd think M & S would drop the jokes for once--but shows a willingness to expand the envelope. By contrast, ventures into golem, reincarnation, witchcraft and Invisible Man territory throw up run-of-the-mill body counts, spotlighting another recurrent problem. For heroes, M & S rarely do anything positive: they work out what is happening after all the killer's intended victims have been snuffed ("Kaddish"), let the monster get away ("Sanguinarium") and cause tragedies ("The Field Where I Died"). No wonder they're stuck in the FBI basement where they can do the least damage. The series has settled enough to play variations on earlier hits: following the liver vampire, we have a melanin vampire ("Teliko") and a cancer vampire ("Leonard Betts"), and return engagements for the oily contact lens aliens and the weasely ex-Agent Krycek ("Tunguska"/"Terma"). Occasional detours into send-up or post-modernism are indulged, yielding both the season's best episode ("Small Potatoes") and its most disappointing ("Musings of a Cigarette-Smoking Man"). "Small Potatoes", with the mimic mutant who tries out Mulder's life and realises what a loser he is (how many other pin-up series heroes get answerphone messages from their favourite phone-sex lines?), works as a genuine sci-fi mystery--for once featuring a mutant who doesn't have to kill people to live--and as character insight. --Kim Newman
Tumble down the rabbit hole with Alice for a fantastical new adventure from Walt Disney Pictures and Tim Burton. Inviting and magical, Alice In Wonderland is an imaginative new twist on one of the most beloved stories of all time. Alice (Mia Wasikowska), now 19 years old, returns to the whimsical world she first entered as a child and embarks on a journey to discover her true destiny. This Wonderland is a world beyond your imagination and unlike anything you've seen before. The extraordinary characters you've loved come to life richer and more colorful than ever. There's the Mad Hatter (Johnny Depp), the White Queen (Anne Hathaway), the Red Queen (Helena Bonham Carter), the White Rabbit (Michael Sheen) and more. A triumphant cinematic experience - Alice In Wonderland is an incredible feast for your eyes, ears and heart that will captivate audiences of all sizes.
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