Jack Nicholson stars in this chilling and classic horror from director Stanley Kubrick.
Maybe "nobody's perfect", as one character in this masterpiece suggests. But some movies are perfect, and Some Like It Hot is one of them. In Chicago, during the Prohibition era, two skirt-chasing musicians, Joe and Jerry (Tony Curtis and Jack Lemmon), inadvertently witness the St Valentine's Day Massacre. In order to escape the wrath of gangland chief Spats Colombo (George Raft), the boys, in drag, join an all-woman band headed for Florida. They vie for the attention of the lead singer, Sugar Kane (Marilyn Monroe), a much-disappointed songbird who warbles "I'm Through with Love" but remains vulnerable to yet another unreliable saxophone player. (When Curtis courts her without his dress, he adopts the voice of Cary Grant--a spot-on impersonation.) The script by director Billy Wilder and I.A.L. Diamond is beautifully measured; everything works, like a flawless clock. Aspiring screenwriters would be well advised to throw away the how-to books and simply study this film. The bulk of the slapstick is handled by an unhinged Lemmon and the razor-sharp Joe E. Brown, who plays a horny retiree smitten by Jerry's feminine charms. For all the gags, the film is also wonderfully romantic, as Wilder indulges in just the right amounts of moonlight and the lilting melody of "Park Avenue Fantasy". Some Like It Hot is so delightfully fizzy, it's hard to believe the shooting of the film was a headache, with an unhappy Monroe on her worst behaviour. The results, however, are sublime. --Robert Horton
The unlikeliest heroes in any queen's court would have to be janitors Mickey Mouse, Donald Duck, and Goofy, who dream of adventure in Disney's animated feature The Three Musketeers and get their wish under dubious circumstances. Though the trio aspires to perform brave deeds on behalf of their monarch, Minnie Mouse (who pines for a fantasy beau that looks a lot like Mickey), they are held back as servants by the head Musketeer, Pete. What they don't know is that Pete secretly schemes to get rid of the queen but has, thus far, failed in his efforts. Desperate, he appoints Mickey and his bumbling friends guardians to Minnie--on the assumption she'll be all the more vulnerable--but underestimates their determined, if slapstick, resourcefulness. Good, classic Disney comedy meets storybook romance in this short (68 minutes) animated feature, which features songs and familiar melodies by Tchaikovsky, Strauss, and Beethoven. --Tom Keogh
Burt Lancaster gives one of his most daringly complex performances in The Swimmer, a fascinating adaptation of John Cheever's celebrated short story. At first it seems that middle-aged businessman Ned Merrill (Lancaster) is merely enjoying a spontaneous adventure, swimming from pool to pool among the well-tended estates of his affluent Connecticut neighbourhood. But as Ned encounters a variety of neighbours, we see from their reactions that he's on an entirely different kind of journey, balanced on the edge of some mysterious psychosis that we can't fully understand until the film's final, devastating image. A compelling portrait of loss, refracted memories, and deep-rooted emotional denial, The Swimmer sprung from the same late-60s soil that yielded similarly ground-breaking literary films such as The Graduate and Goodbye, Columbus. It's an egotistical showcase for the physical prowess of its 55-year-old star, but Lancaster turns it into something deeper, more disturbing, and completely unforgettable. --Jeff Shannon
Mickey Mouse Clubhouse: Mickey's Adventures In Wonderland
Series 3 and 4 of the sitcom adventures of Wolfie Smith. Power to the people! In Tooting London SW17 revolution is still brewing. But will the Glorious Day ever come? Will Wolfie (Robert Lindsay) Ken Tucker and Speed - the Tooting Popular Front - ever manage to drag the proletariat out of its lethargy to strike at the heart of capitalism? Or will Wolfie's domestic problems lack of money and the dreadful performance of his beloved Fulham Football Club once again prove effective
A modish creation teased into life by Warren Beatty, Shampoo was an offbeat Hollywood hit back in 1975. Made after Watergate, it reflects on the hedonism of late-60s Los Angeles with a sad, somewhat cynical eye. Basically a bedroom farce, fuelled by some famously raunchy dialogue, its comedy is nevertheless underlain with melancholy. Screenwriter Robert Towne was inspired by Wycherly's Restoration comedy The Country Wife, wherein a wily fellow convinces friends of his impotence even while he is merrily seducing their wives. Hence, Towne invented handsome Beverly Hills hairdresser George Roundy (Beatty), who ought to be gay, but emphatically isn't. Shampoo begins on US Election Day, 1968, as Nixon is trouncing McGovern at the polls, and George Roundy is trying to sort his life out. An earnest advocate of sensual pleasure, he beds most of his female clients, from the fretful Jill (Goldie Hawn) to the wealthy Felicia (Lee Grant). Yet George is himself unfulfilled, and imagines that owning his own salon will satisfy him. He asks Felicia's husband Lester (Jack Warden) to back him, but first Lester coerces George into squiring his mistress Jackie (Julie Christie) to a Nixon victory party. Inevitably, Jackie is another of George's girls and, having seduced Felicia's vivacious daughter (Carrie Fisher) earlier that day, George has much to conceal from Lester and Felicia as the evening's festivities unravel. Shampoo shows the 60s turning sour. The characters are rich hippies, superficially liberated but deeply unhappy, and blandly indifferent to the dawning of the Nixon era. The excellent Lee Grant won an Oscar, but Shampoo is Beatty's film. He produced it, had a substantive hand in Towne's script, and deputised the nominal director, Hal Ashby. The film mildly exploits legends of Beatty's real-life sexual prowess, but mainly it embodies his commitment to making thoughtful movies for grown-ups. Richard Kelly
Near the end of World War II American Major Falconer (Lancaster) leads his weary eight-man squadron to a perfectly preserved medieval castle in the Ardennes Forest. Castle Keep's owner the aging Count of Maldorais (Jean-Pierre Aumont) shelters the servicemen in hopes they will defend his fortress and his priceless collection of art masterpieces from the advancing German troops. But the servicemen have plans of their own. Major Falconer begins an illicit affair with the count's beau
Disney's biggest stars shine in a magical all-new movie - sure to become a holiday classic! Mickey Minnie and their famous friends Goofy Donald Daisy and Pluto gather together to reminisce about the love magic and surprises in three wonder-filled stories of Christmas past. In the fine tradition of Disney's superb storytelling Minnie and Mickey recall the year they both gave up what was most important to them for the sake of the other making for one unforgettable Christmas. Go
A milestone film from 1971 and winner of five Academy Awards including Best Picture, Best Director, and Best Actor, The French Connection transformed the crime thriller with its gritty, authentic story about New York City police detectives on the trail of a large shipment of heroin. Based on an actual police case and the illustrious career of New York cop Eddie Egan, the film stars Gene Hackman as Jimmy "Popeye" Doyle, whose unorthodox methods of crime fighting are anything but diplomatic. With his partner (Roy Scheider), Popeye investigates the international shipment of heroin masterminded by the suave Frenchman (Fernando Rey) who eludes Popeye throughout an escalating series of pursuits. The obsessive tension of Doyle's investigation reaches peak intensity during the film's breathtaking car chase, in which Doyle races under New York's elevated train tracks in a borrowed sedan--a sequence that earned an Oscar for editing and was instantly hailed as one of the greatest chase scenes ever filmed. Produced on location, The French Connection had an immediate influence on dozens of movies and TV shows to follow, virtually redefining the crime thriller with its combination of brutal realism and high-octane craftsmanship. Boosted by the film's phenomenal success, director William Friedkin gained even more attention with his follow-up film, The Exorcist. --Jeff Shannon
The much awaited sequel to the internationally acclaimed box-office smash Once Were Warriors. This film exposes a seedier view of urban New Zealand and its gang culture. Jake the Muss (Temuera Morrison) has turned his back on his family and is up to his usual tricks in McClutchy's bar unaware as he downs his latest opponent that his son has died in a gang fight.
Kiss the Girls is a thriller about a collaboration between two serial killers, and, coming after The Silence of the Lambs and Seven, it feels like a pale attempt to cash in on the success of those earlier, better films. That's a pity, because this film certainly has its strengths--particularly in the central performances of Morgan Freeman as a forensic detective and Ashley Judd as a would-be victim who escaped from one of the killers. Director Gary Fleder demonstrates visual flair and maintains an involving undercurrent of tension, but as this adaptation of James Patterson's novel approaches its climax, familiar elements combine to form a chronic case of thriller déjà vu. It's altogether competent filmmaking in the service of a moribund story of competing psychopaths, and by the time the serial killers reach the home stretch of their twisted contest, the movie's dangerously close to Freddy Kruger territory, with a finale that could've been borrowed from any one of dozens of similar thrillers. --Jeff Shannon, Amazon.com
For the first time in stunning High Definition, experience the wild adventure and laugh-outloud characters of Disney's Tarzan, as the magnificent adaptation of Edgar Rice Burroughs' classic story of the ape man comes to Blu-ray.Deep within the African jungle, a mother gorilla names an orphaned baby boy Tarzan and adopts him as her own, even though the silverback leader Kerchak shuns the hairless wonder. Growing up alongside his wisecracking ape buddy Terk and neurotic elephant pal Tantor, Tarzan develops all the instincts and prowess of a jungle animal, surfing and swinging through the trees at lightning speed. But with the sudden appearance of Tarzan's own kind - humans - including the beautiful Jane, the only world Tarzan has ever known and the onein which he belongs collide with extraordinary force!Driven by five powerful songs written and performed by pop superstar Phil Collins, and starring the voice talents of Minnie Driver, Glenn Close and the hilarious Rosie O'Donnell, Disney's Tarzan delivers incredible adventure as well as important reminders about acceptance and family!
Maybe "nobody's perfect", as one character in this masterpiece suggests. But some movies are perfect, and Some Like It Hot is one of them. In Chicago, during the Prohibition era, two skirt-chasing musicians, Joe and Jerry (Tony Curtis and Jack Lemmon), inadvertently witness the St Valentine's Day Massacre. In order to escape the wrath of gangland chief Spats Colombo (George Raft), the boys, in drag, join an all-woman band headed for Florida. They vie for the attention of the lead singer, Sugar Kane (Marilyn Monroe), a much-disappointed songbird who warbles "I'm Through with Love" but remains vulnerable to yet another unreliable saxophone player. (When Curtis courts her without his dress, he adopts the voice of Cary Grant--a spot-on impersonation.) The script by director Billy Wilder and I.A.L. Diamond is beautifully measured; everything works, like a flawless clock. Aspiring screenwriters would be well advised to throw away the how-to books and simply study this film. The bulk of the slapstick is handled by an unhinged Lemmon and the razor-sharp Joe E. Brown, who plays a horny retiree smitten by Jerry's feminine charms. For all the gags, the film is also wonderfully romantic, as Wilder indulges in just the right amounts of moonlight and the lilting melody of "Park Avenue Fantasy". Some Like It Hot is so delightfully fizzy, it's hard to believe the shooting of the film was a headache, with an unhappy Monroe on her worst behaviour. The results, however, are sublime. --Robert Horton
Though promoted as a "full-length holiday movie", Mickey's Magical Christmas is more of a Christmas special spin-off from Disney's House of Mouse TV series. The premise is something like an animated Muppet Show: Mickey, Goofy and Donald run a nightclub for an audience of Disney characters, with plenty of songs, skits and cartoons. There's not much story to this holiday special--Mickey whips up an impromptu party for stranded guests and instils a "Humbug" quacking Donald with the holiday spirit--but it's full of sight gags and comic bits with dozens of Disney characters, from Ludwig von Duck to Pumba and Timmon. The special begins with the short Pluto's Christmas Tree and ends with the entire 1983 short film Mickey's Christmas Carol. However, the highlight is a comic retelling of The Nutcracker with Donald as a reluctant Mouse King (complete with phony Mickey Mouse ears) and John Cleese as the exasperated narrator. The special is utterly unmemorable as a whole, but nonetheless bright, light, cute and sure to keep the attentions of young tots. --Sean Axmaker, Amazon.com
Selene and Michael continue the saga of war between the Death Dealers and the Lycans.
The story's setting is 1947 England where hard-hit Brits won't let mandatory food rationing keep them from celebrating the wedding of the future queen to Lt. Phillip Mountbatten. But there may be no public banquet for citizens in a Yorkshire town. The contraband guest of honour they've pampered and fattened has been pignapped!
Mickey Mouse and his friends enter the realm of computer-generated animation in this five-episode, 68-minute Christmas celebration. The holidays are a time for celebration, but when Mickey Mouse, Donald Duck, and host of other Disney characters become obsessed with holiday preparations, the frenzy of activity leaves everyone feeling stressed, selfish, and full of regret. A skating contest leads best friends Minnie Mouse and Daisy Duck down a path of jealousy and hurt feelings in "Belles on Ice," and "Christmas Impossible" finds Huey, Dewie, and Louie selfishly scheming to get on Santa's "good list" at any expense. In "Christmas Maximus," Goofy's son Max is mortified by his father's silly antics and, in "Donald's Gift," Donald's craving for peace and quiet threatens to ruin the whole family's holiday fun. "Mickey's Dog-Gone Christmas" finds Mickey so absorbed in planning the perfect Christmas party that he lashes out at Pluto and almost loses a very special friend forever. While the animation style is new, what hasn't changed is Disney's commitment to stories with wholesome values: Mickey and the gang remind viewers that the holiday season is not about selfishness, flashy parties, and expensive gifts, but about selflessness and the celebration of family and friends.--Tami Horiuchi
This pilot episode filmed in 1990 by Yorkshire Television for the ITV network stars Patricia Routledge as Hetty and John Graham Davies as DCI Adams. Nobody played Robert or Geoffrey. It wasn't until some years later that the series would get the go-ahead in 1996. In this episode Hetty decides to track down the long lost son of her friend's husband.....
The human beings are almost as interesting as the title character in the surprisingly subtle and engaging Paulie, a film about the cross-country adventures of a smart-mouthed parrot. As director John Roberts deploys the footage, the bird becomes a vivid personality; every quizzical twist of his head is oddly expressive. The people who interact with Paulie are a quirky and interesting bunch as well, and the casting is topnotch: Tony Shalhoub (The Siege) as a Russian immigrant janitor, Cheech Marin as an open-hearted mariachi musician, and Gena Rowlands as a widowed painter in a footloose Winnebago--all are vividly eccentric individuals, memorable in their own right. There are some tired swipes at the cold-blooded meanies of Big Science (beady-eyed researcher Bruce Davison has Paulie clapped in irons), but for the most part the film respects the complexity of everyone's motivations, and that's virtually unheard of in today's Hollywood, even in films supposedly designed for grownups. --David Chute
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