A desperate college student takes a mysterious babysitting job that coincides with a full lunar eclipse. She slowly realises that her employer has hired her for a terrifying reason, one that could cost her everything. Special Features ¢ Audio commentary with Writer-Director Ti West & Actress Jocelin Donahue ¢ Audio commentary with Writer-Director Ti West, Producers Larry Fessenden & Peter Phok and Sound Designer Graham Reznick ¢ The Right Vibe: a new interview with Director Ti West ¢ Satanic Panic: a new interview with Actor Jocelin Donahue ¢ Slowing Down is Death: a new interview with Actor AJ Bowen ¢ A Level of Ambition: a new interview with Producer Peter Phok ¢ Hiding the Seams: a new interview with Composer Jeff Grace ¢ Writing Through Sound: a new interview with Sound Designer Graham Reznick ¢ This Night Changes Everything: The Making of The House of the Devil ¢ In The House of the Devil ¢ Deleted Scenes ¢ Trailer Limited Edition Contents ¢ Rigid slipcase with new artwork by Nick Charge ¢ 70-page book with new essays by Martyn Conterio, Ariel Powers-Schaub, Jerome Reuter and Julieann Stipidis plus Behind the Scenes gallery. ¢ 6 collectors' art cards
Young Danny Madigan (Austin O'Brien) is a lonely 11-year-old boy who escapes from his bleak reality by watching the action adventure movies of his favorite film character, Jack Slater (Arnold Schwarzenegger). When his best friend, Nick the projectionist, gives him a special ticket to the new Slater film, Danny is magically transported into Jack's world, where the good guys always win. Danny becomes his helper as Jack battles a trio of nefarious bad guys, Benedict (Charles Dance), Vivaldi (Anthony Quinn) and The Ripper (Tom Noonan). But things get out of hand when Benedict steals Danny's magic ticket stub and transports himself into the real world, where crime can, and often does, pay. Jack and Danny must leave fictional Los Angeles for real-life New York and battle the villains without the aid of movie magic or stuntmen.
A desperate college student takes a mysterious babysitting job that coincides with a full lunar eclipse. She slowly realises that her employer has hired her for a terrifying reason, one that could cost her everything. Special Features ¢ Audio commentary with Writer-Director Ti West & Actress Jocelin Donahue ¢ Audio commentary with Writer-Director Ti West, Producers Larry Fessenden & Peter Phok and Sound Designer Graham Reznick ¢ The Right Vibe: a new interview with Director Ti West ¢ Satanic Panic: a new interview with Actor Jocelin Donahue ¢ Slowing Down is Death: a new interview with Actor AJ Bowen ¢ A Level of Ambition: a new interview with Producer Peter Phok ¢ Hiding the Seams: a new interview with Composer Jeff Grace ¢ Writing Through Sound: a new interview with Sound Designer Graham Reznick ¢ This Night Changes Everything: The Making of The House of the Devil ¢ In The House of the Devil ¢ Deleted Scenes ¢ Trailer
Paul Verhoeven was almost unknown in Hollywood prior to the release of RoboCop in 1987. But after this ultra-violent yet strangely subversive and satirical sci-fi picture became a huge hit his reputation for extravagant and excessive, yet superbly well-crafted filmmaking was assured. Controversial as ever, Verhoeven saw the blue-collar cop (Peter Weller) who is transformed into an invincible cyborg as "an American Jesus with a gun", and so the film dabbles with death and resurrection imagery as well as mercilessly satirising Reagan-era America. No targets escape Verhoeven's unflinching camera eye, from yuppie excess and corporate backstabbing to rampant consumerism and vacuous media personalities. As with his later sci-fi satire Starship Troopers the extremely bloody violence resolutely remains on the same level as a Tom and Jerry cartoon. The inevitable sequel, competently directed by Irvin Kershner, thankfully continues to mine the dark vein of anti-consumerist satire while being reflexively aware that it is itself a shining example of that which it is lampooning. Sadly the third instalment in the series, now without Peter Weller in the title role, is exactly the kind of dumbed-down production-line flick that the corporate suits of OCP might have dreamed up at a marketing meeting. Its only virtue is a decent music score from regular Verhoeven collaborator Basil Poledouris, whose splendid march theme returned from the original score. On the DVD: Packaged in a fold-out slipcase these three discs make a very collectable set. All are presented in 1.85:1 anamorphic prints, although only the first movie has any extra material worth mentioning. Here the Director's Cut option allows the viewer to see Paul Verhoeven's more explicitly violent versions of Murphy's "assassination", ED-209's bloody malfunction and the shootout finale. These extended sequences are handily signposted in the scene selection menu, and the filming of them can be seen in a sequence of Director's Cut footage. Deleted scenes include "Topless Pizza" ("I'll buy that for a dollar!") and there are two contemporary "making of" featurettes plus a good, new half-hour retrospective. Both the latter and the director's commentary make abundantly clear the Reagan-era satire and are chock full of quotable lines from Verhoeven--"I wanted to show Satan killing Jesus"--and his producer--"Fascism for liberals". Stop-motion animator Phil Tippett gives a commentary on the storyboard-to-film comparisons, and there are the usual trailers and photos. Showing just how much the sequels are rated in comparison, the second and third discs have nothing but theatrical trailers and their sound is just Dolby 2.0 whereas the original movie has been remastered into Dolby 5.1.--Mark Walker
Desperate to find a deposit on a new flat, cash-strapped Samantha accepts a one off babysitting job for a rather sinister sounding employer in this cult horror.
A musical remake of the classic 1937 film of the same name, A Star is Born was designed as Judy Garland's comeback vehicle after she had been cruelly axed by MGM studios for professional unreliability. Her erratic moods caused serious production delays this time around, too, but the behind-the-scenes turmoil was certainly worth it--Garland gives just about the greatest one-woman show in movie history. The story is the stuff of pure Hollywood legend. Aspiring actress-singer Esther Blodgett meets fading matinee idol Norman Maine (James Mason), who navigates her to stardom under the more melodious handle of Vickie Lester. As she rises meteorically, he declines into alcoholic self-pity--and the result, if you haven't guessed, is plenty of heartbreak. Mason lends subtle support in a role Cary Grant refused as too downbeat for his image, but Garland grabs centre stage with an all-out emotional performance that rivets the attention. Director George Cukor was famous for coaxing the very best out of screen divas, and A Star is Born must be counted as his crowning achievement. The lush visual style that he contributes provides a suitable setting for Garland's deep, rich voice--throbbing with melancholy in the Harold Arlen-Ira Gershwin ballad "The Man That Got Away", then capering joyfully in the gargantuan musical number "Born in a Trunk". Moss Hart's script takes many cynical swipes at the pretensions of Tinsel Town--perhaps too many for the taste of studio boss Jack Warner, who ordered drastic cuts in the film after its premiere. --Peter Matthews
A Star Is Born: This film marked Judy Garland's return to movies after a four year absence director George Cukor's first musical and first colour film and a showcase for the great Harold Arlen/Ira Gershwin songs in state-of-the-art stereo. One of the most beloved show business stories of all time A Star Is Born: represents a career peak for many involved. Garland is singer Esther Blodgett an undeniable talent on the rise. She catches the eye of Norman Maine (James M
A night unparalleled in the history of human imagination... Four friends on their way to a wedding find themselves marooned on a mysterious farm. As darkness descends creatures of the night awaken and the undead rise as a night of relentless horror begins...
Gentlemen Prefer Blondes, Anita Loos' old story from the 1920s about a pair of single women in search of husbands, gets a makeover in Howard Hawks' 1953 musical. The remake stars Jane Russell and Marilyn Monroe as two friends who go to Paris looking for mates. The film is charged by Hawks's stylish snap, a famous set piece or two (Monroe descending that staircase while singing "Diamonds are a Girl's Best Friend"), Russell's wit and songs by Leo Robin and Jule Styne. The film may largely be a fluff project best remembered as a showcase for its leading actresses, but then Monroe and Russell rarely got such extended opportunities to prove that they were more than cinematic icons.--Tom Keogh, Amazon.com
Dare to be duped! The world of movie make-believe meets the gritty New York crime scene in this clever suspense movie. Bryan Brown and Brian Dennehy command the heart-pounding action in the first-class crackling excitement of F/X. Rollie Tyler (Brown) is the best special effects artist in showbiz. But this time it’s not the studios seeking him out it’s the Justice Department. His assignment: to stage the assassination of an important underworld witness. And after he pull
They can hear a cloud pass overhead the rhythm of your blood. They can track you by yesterday's shadow. They can tear the scream from your throat. A real estate tycoon his coke-binging wife and a slum wino have something grisly in common: they're the latest victims in a series of random murders. A veteran NYPD detective soon suspects the killings may be supernatural and deliberate: ages-old beings of cunning intelligence and incredible power defending their turf from the encroac
Jackie (Karen Sillas) and Michael (Tom Noonan, Manhunter, also writer-director) are co-workers at a New York law firm who, after months of flirtation, agree to meet for a 'first date' at Jackie's apartment. Their initially charged and playful interactions eventually evolve into a long, dark night of the soul, as the two would-be lovers get to know each other properly for the first time, and discover that all may not be as it seems. Winner of the Sundance Festival Jury Prize in 1994, What Happened Was... is a landmark work of American independent cinema anchored around two stunning performances, presenting an often hilarious, often bleak, but always excoriatingly honest exploration of dating in the big city. Radiance is proud to present the film on UK home video for the very first time. It's wildly heartbreaking and terribly funny. It means the world to me. - Charlie Kaufman An unsettling glimpse into the feelings that all our faces hide - Own Gleiberman, Entertainment Weekly LIMITED EDITION BLU-RAY SPECIAL FEATURES4K restoration by Oscilloscope FilmsUncompressed stereo PCM audioInterview with director Tom Noonan and producer Scott Macaulay (2021)Interview with star Karen Sillas (2021)New interview about the film with critic Charles Bramesco (2024)TrailerOptional English SDH subtitlesReversible sleeve featuring original and newly commissioned artwork by Filippo Di BattistaLimited edition booklet featuring new writing by Adam NaymanLimited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markingsExtras subject to change
John McTiernan (The Hunt for Red October) imaginatively directs this action comedy, which is an interesting failure with some fascinating ironies that make it well worth seeing. Arnold Schwarzenegger plays both a character named Jack Slater--a fictional cop hero who exists only in the movies (ie, the movies seen by the characters in this movie) and the actor who plays Jack Slater in the real world (ie, in the movie we're actually watching). McTiernan's hall-of-mirrors effect is fun, though Last Action Hero never quite identifies itself as a pure action movie, science fiction, a kid's movie, or anything else. (The expensive film suffered at the box office as a result and was roundly criticised for this ambivalence.) What lingers in the memory, however, is Schwarzenegger, playing himself, being confronted by Slater for having created an alter ego for film in the first place. It's a provocative moment: how often have we seen a major star blatantly wrestle with his actor's legacy in this way? --Tom Keogh
An intriguingly creepy premise but failed execution marks The Astronaut's Wife, a stylish and ultimately bland thriller about a pretty, young woman whose pretty, young astronaut husband comes back from his most recent space mission a little... odd. Before that fated space trip, Spencer (Johnny Depp) and Jillian (Charlize Theron) were a sunny, happy couple with matching blonde hairdos and a predilection for romping in the sack from extremely clever camera angles. However, after a communications blackout brings Spencer and his partner back down to earth prematurely, things are a little... peculiar. Spencer's partner goes bonkers and has a heart attack; on top of that, the partner's wife takes a fatal shower with a plugged-in radio. Getting out of the space biz, Spencer accepts a job as a corporate exec in New York, and as a welcome to the Big Apple for his comely wife, he molests her at the company cocktail party. Soon enough, Jillian is pregnant, but as you might expect, this pregnancy (twins, don't you know) is a little... unusual. Writer-director Rand Ravich takes his sweet time getting from extremely obvious plot point A to even more obvious plot point B, stretching out the development particulars in mind-numbing, suspense-killing fashion. Even Joe Morton, as a sinisterly psychotic NASA official, can't liven things up--you know you're in bad thriller territory when the biggest scare comes from a light suddenly being switched off. Theron, sporting a Mia Farrow in Rosemary's Baby style haircut, sleepwalks beautifully through the movie, but she did this role much, much better in The Devil's Advocate. Depp, with a cornpone Southern accent, is about as realistic as his peroxided hair. Ravich does the viewer no favours with a hackneyed ending straight out of a B-grade paperback horror novel in which the most shocking moment is Theron's sudden emergence as a brunette. With Blair Brown as a jaded socialite who offers to help out Theron by providing do-it-yourself abortion pills, and a lovely Donna Murphy as the suicidal wife who figures it all out before everyone else. -- Mark Englehart, Amazon.com
Titles Comprise:Cherry Tree Lane: is a tense urban thriller in which a couple are taken hostage by a gang planning revenge on their son. Christine and Mike (Rachael Blake and Tom Butcher) arrive home from work as usual to prepare dinner for themselves and their teenage son, Sebastian (Tom Kane). They are disturbed by a knock at the front door, which leads to a group of aggressive teenagers barging into the house. The teenagers want to have a word or two with the absent Sebastian, who they believe to be guilty of grassing up one of their friends, and are plenty happy to hold hostage and terrorise his parents until he returns.House of the Devil: (2009) follows cash-strapped college student Samantha Hughes (Jocelin Donahue), who takes a babysitting job in a remote country mansion. Fairly soon, Samantha senses that something isn't quite right and that she was naive to believe she could land such a well-paid job without a catch. As a lunar eclipse darkens the sky overhead, Samantha begins to get the uncomfortable feeling that her employers (Tom Noonan and Mary Woronov) intend to use her for something rather more sinister than childcare.Bathory: Countess of Blood: (2008) is based on the legend of 16th-century Hungarian Countess Elizabeth Bathory, who was said to bathe in the blood of virgins in a bid to preserve her youth and beauty. This feature, directed by Juraj Jakubisko, portrays Bathory (Anna Friel) in a somewhat different light - a woman born ahead of her time, who was betrayed by the men in her life. These include a talented young painter with whom she begins an affair, Merisi Caravaggio (Hans Matheson), and conniving rival land owner Juraj Thurzo (Karel Roden).
The 6th Day: Arnold Schwarzenegger is Adam an ace pilot in the very near future who is having a serious identity crisis. An illegal corporation illegally cloned him and now they're trying to kill him to hide the evidence. Torn from his beloved family and faced with a shocking exact duplicate of himself Adam races against time to reclaim his life and save the world from the underground cloning movement. Last Action Hero: Danny Madigan (Austin O'Brien) a young cinem
An innocent man is targeted for surveillance by the CIA. However the intelligence agency finds it increasingly difficult to liquidate the musician as he continues to be oblivious of the attempts to kill him...
Titles Comprise: A Star Is Born: A Star Is Born marked Judy Garland's return to movies after a four year absence director George Cukor's first musical and first colour film and a showcase for the great Harold Arlen/Ira Gershwin songs in state-of-the-art stereo. Garland is singer Esther Blodgett an undeniable talent on the rise. She catches the eye of Norman Maine (James Mason) an alcoholic actor in a career decline. Their intense love transforms them both. Only one will survive Hollywood's slings and arrows... For Me & My Gal: Gene Kelly and Judy Garland star as Jo and Harry two vaudeville artists. Harry deliberately injures himself to avoid being drafter into Word War I but he later makes amends. Harvey Girls: Vittles songs and dance are amply ladeled out when Judy Garland headlines The Harvey Girls a joyous musical slice of Americana celebrating the restaurants that brought extra helpings of civilization to Old West rail passengers. Highlights include Garland holding saloon patrons at jittery gunpoint to retrieve stolen beefsteaks Ray Bolger's loose-limbed comic hoofing. Virginia O'Brien's sure-shot comic timing Angela Landsbury stylish wickedness as a saloon singer and the On the Atchison Topeka and Santa Fe romp. All Board! In The Good Old Summertime: Starring Judy Garland and Van Johnson this musical remake of The Shop Around the Corner set in a Chicago music store finds a sales girl (Garland) corresponding through a dating service with a man (Johnson) who turns out to be the manager she detests. Love Finds Andy Hardy: Love Finds Andy Hardy is the fourth film in the series and finds Andy (Mickey Rooney) frantically trying to juggle two girlfriends (Ann Rutherford and Lana Turner) at the same time. It's the new kid next-door (Judy Garland in the first of three fondly remembered Andy Hardy appearances) who helps Andy out of his jam and sings such delightful songs as In Between It Never Rains But What It Pours and Meet the Beat of My Heart. Ziegfeld Girl: The greatest musical extravaganza of all time! An elevator operator a wife of a struggling concert violinist a born-in-the-trunk vaudevillian: they're three different women on three different paths of life yet they soon share one dream: to become a Ziegfeld Girl.
An all-star cast enlivens this mobster movie. Barry Pepper (Saving Private Ryan, Battlefield Earth) plays the central role of Matty, the son of a mob boss (Dennis Hopper, Blue Velvet, Speed) who's reluctant to give his son a shot at crime. Alas, when Matty and his posse of friends--tough guy Vin Diesel (Boiler Room, XXX), lover boy Andrew Davoli (The Sopranos), and screw-up Seth Green (the Austin Powers movies)--finally get an opportunity, they fumble the job, and a very important satchel of money ends up in a Montana town where the wily sheriff (Tom Noonan, Manhunter) decides he deserves a bonus for his years of public service. The posse's problems get worse when Matty's ruthless uncle (John Malkovich) comes to town to clean up the mess. Mechanical and unimaginative, but the capable performances keep it moving.
Released to box-office indifference in 1986, Manhunter introduced Hannibal Lecter and established the rules of the modern race to find serial killer thriller five years before The Silence of the Lambs packed cinemas everywhere. This was Michael Mann's third feature, reuniting William L Petersen and Dennis Farina from his debut Thief (1981) as FBI agents hunting the killer dubbed "The Tooth Fairy". Petersen's Will Graham is the man who put Lecktor (as it is spelt here) behind bars, and as in Lambs consults with the Doctor, played with understated malevolence by Brian Cox. Manhunter is an exceptionally well-photographed film: Mann's regular cinematographer Dante Spinotti created sparse, elegantly framed, often mono-chromatically lit compositions which are essential to the shifting psychological moods. The performances are very good, and the typically 1980s, Vangelis-esque electronic score effectively sustains tension. Once the killer is introduced the scenes with Joan Allen have a genuinely unsettling, almost surreal quality. There is at least one serious plot flaw--how does "The Red Dragon" get his letter to Lecktor? Manhunter never packs the sheer excitement of Lambs, nevertheless, it is a powerful and compelling thriller which remains far superior to the third instalment in the series, Hannibal (2001). On the DVD: In addition to the trailer there is a revealing 10-minute conversation with Dante Spinotti in which he explains how he created the very distinctive look of Manhunter. Also included is a more general 17-minute retrospective "making-of" documentary. This is good but too short, the extras failing to live up to the wealth of material on the Lambs and Hannibal DVDs. The anamorphically enhanced 2.35:1 image is generally very good, being just a little soft in one or two early scenes. The sound is listed as Dolby Digital 5.1, but appears to replicate the main stereo signal in the rear channels. Audio is none the less powerful and clear, though lacks the sheer edge and atmospherics of some more recent thrillers. --Gary S Dalkin
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