Disney's "A Christmas Carol", a multi-sensory thrill ride re-envisioned by Academy Award-winning filmmaker Robert Zemeckis, captures the fantastical essence of the classic Dickens tale in a groundbreaking 3-D motion picture event
It was an evil house form the beginning , a house that was born bad. The place is the 90-year-old mansion called Hill House. No one lives in there. Or so it seems. But come in. Because even if you don't believe in ghosts, there's no denying the terror of The Haunting. Robert Wise, returned to psychological horror for this much admired, first screen adaptation of Shirley Jackson's The Haunting of Hill House. Four people (Julie Harris, Claire Bloom, Richard Johnson and Russ Tamblyn) come to the house to study its supernatural phenomena. Or has the house drawn at least one of them to it? The answer will unnerve you in this elegantly sinister scare movie. It's good fun (Pauline Kael, 5001 Nights at the Movies).
Certain to remain one of the greatest haunted-house movies ever made, Robert Wise's The Haunting (1963) is antithetical to all the gory horror films of subsequent decades, because its considerable frights remain implicitly rooted in the viewer's sensitivity to abject fear. A classic spook-fest based on Shirley Jackson's novel The Haunting of Hill House (which also inspired the 1999 remake directed by Jan de Bont), the film begins with a prologue that concisely establishes the dark history of Hill House, a massive New England mansion (actually filmed in England) that will play host to four daring guests determined to investigate--and hopefully debunk--the legacy of death and ghostly possession that has given the mansion its terrifying reputation. Consumed by guilt and grief over her mother's recent death and driven to adventure by her belief in the supernatural, Eleanor Vance (Julie Harris) is the most unstable--and therefore the most vulnerable--visitor to Hill House. She's invited there by anthropologist Dr. Markway (Richard Johnson), along with the bohemian lesbian Theodora (Claire Bloom), who has acute extra-sensory abilities, and glib playboy Luke Sanderson (Russ Tamblyn, from Wise's West Side Story), who will gladly inherit Hill House if it proves to be hospitable. Of course, the shadowy mansion is anything but welcoming to its unwanted intruders. Strange noises, from muffled wails to deafening pounding, set the stage for even scarier occurrences, including a door that appears to breathe (with a slowly turning doorknob that's almost unbearably suspenseful), unexplained writing on walls, and a delicate spiral staircase that seems to have a life of its own. The genius of The Haunting lies in the restraint of Wise and screenwriter Nelson Gidding, who elicit almost all of the film's mounting terror from the psychology of its characters--particularly Eleanor, whose grip on sanity grows increasingly tenuous. The presence of lurking spirits relies heavily on the power of suggestion (likewise the cautious handling of Theodora's attraction to Eleanor) and the film's use of sound is more terrifying than anything Wise could have shown with his camera. Like Jack Clayton's 1961 chiller, The Innocents, The Haunting knows the value of planting the seeds of terror in the mind, as opposed to letting them blossom graphically on the screen. What you don't see is infinitely more frightening than what you do, and with nary a severed head or bloody corpse in sight, The Haunting is guaranteed to chill you to the bone. --Jeff Shannon
Edward Woodward gives an electrifying performance as a reluctant professional killer working for British Intelligence. Callan became a national phenomenon in the late 1960s making Woodward one of the highest profile actors on television and paving the way to his eventual career in America on shows like The Equalizer. Created by James Mitchell (When the Boat Comes In) and exploring the dingy twilight world of the professional spy Callan was the antithesis of James Bond (back in the days of Connery and Moore) and presented until that point television's most realistic portrayal of government espionage. This set contains the original Armchair Theatre pilot play A Magnum for Schneider along with all the remaining black and white episodes from series one and two - unseen in nearly forty years and available on any format for the first time.
Enzo (Jean Reno L''on The Da Vinci Code) and Jacques (Jean-Marc Barr Breaking the Waves Dogville) have known each other for a long time. Their friendship started in their childhood days in the Mediterranean where they shared a love for diving. After Jacques' father dies in a diving accident the two lose contact. Now an adult Enzo is living in Sicily where for six years he has been the uncontested free diving world champion. He sends for Jacques who is living in the Peruvian Andes and insists that he competes for the title. Jacques comes to Sicily and easily beats Enzo. The competition mounts as each man dive at increasingly life-threatening depths. But when Jacques' girlfriend Johana (Rosanna Arquette After Hours Crash) arrives from New York and pleads for the risk-taking to stop events takes an unexpected turn leading to an unforgettably dark mysterious and torturously beautiful conclusion...
Focusing on three of the most important discoveries from the world of the ancient Egyptians this series journeys back in time to explore Howard Carter's discovery of the tomb of Tutankhamun the Great Belzoni's finds from the reign of Ramesses II and Champollion's deciphering of the hieroglyphs. Join Carter Belzoni and Champollion as they overcome immense obstacles to unlock the secrets of an as-yet undiscovered world and reveal their seminal finds. Then travel even further back
Lancelot (Richard Gere) a nomadic rogue has no ties no enemies and no fear until that is he meets the beautiful Lady Guinevere of Leonesse (Julia Ormond). Guinevere has promised to marry King Arthur (Sean Connery) not only because his armies can protect her country but because she truly loves him. But her chance encounter with Lancelot as she prepares to enter Camelot stirs conflicting and powerful emotions within her. Arthur welcomes both into his city with open heart little foreseeing how his great capacity for love and trust opens the doors for his own betrayal...
Intergalactic adventure with an interplanetary resistance group battling for survival against a totalitarian super-power. Roaming a universe of boundless space and restrictive discipline freedom-fighter Blake with the crew of spaceship Liberator is locked in combat with the all-powerful forces of the Federation. Episodes comprise: 1. Aftermath 2. Powerplay 3. Volcano 4. Dawn Of The Gods 5. The Harvest Of Kairos 6. City At The Edge Of The World 7. Children Of Auron 8. Rumou
In this U.S. smash hit, a 35-year-old San Franciscan writer (Best Actress Academy Award and Golden Globe nominee Diane Lane "Unfaithful") heads to Italy after a recent divorce and one thing becomes clear: in life, there are second chances.
A battle of action and wits in a World War II prison camp where the Fuhrer's scheme for looting a treasure-laden island off Greece is under way. Prisoners of war labour under the eye of the camp's Austrian Commandment Major Otto Hecht as they dig up priceless Greek art. Zeno the island's resistance leader and his woman Eleana scheme to defeat the occupiers. Zeno and his men clash with the Germans to save the lives of condemned prisoners and try to locate a submarine oil supply dep
Iain Glen plays Carl Galton a London gangster who sets out to exact revenge on those who killed his brother in a bar brawl.
Hammer's To the Devil a Daughter was the last film made by the once great studio. Clearly ailing, Hammer again adapted a novel by Dennis Wheatley, the author behind one of their greatest successes, The Devil Rides Out (1967). Unfortunately for the studio, films such as Rosemary's Baby (1968) and The Exorcist (1973) had, in the intervening decade, radically changed horror cinema. With American star Richard Widmark echoing Gregory Peck's role in the far more polished The Omen (1976), the film seemed, rather than setting the pace as Hammer once had, to be very much jumping on the 1970's occult band-wagon. Christopher Lee is the satanic ex-communicated priest whose coven plan to incarnate the ancient demon Ashteroth, while a supernaturally beautiful Nastassja Kinski demonstrates the same willingness to disrobe as in Cat People (1982). Even so, this lacklustre, misogynistic film couldn't compete with Carrie and Suspiria (both also 1976) and Hammer thereafter concentrated on TV productions. Surprisingly, director Peter Sykes' next film, Jesus (1979), as well as being the most seen and internationally distributed film ever (with an audience of over two billion by 2000), is also the most faithful portrayal of Christ yet committed to celluloid. --Gary S. Dalkin
The first film written by James Gunn who went on to write 2004's Dawn of the Dead and write/direct Slither Tromeo and Juliet moves Shakespeare's classic tale of star-crossed love from 16th Century Verona to a crumbling modern day New York where young Tromeo (Will Keenan) and Juliet (Jane Jenson) must defy their families endless feud in order to be together for eternity. Featuring all the body piercing kinky sex car crashes and dismemberment that Shakespeare always wanted but never had Tromeo and Juilet is the most subversive and original literary adaptation ever put on screen! Special Features: Region Free 4 Audio Commentaries (the original commentary one recently recovered vintage commentary and two new ones) featuring writer James Gunn (Slither) director Lloyd Kaufman (The Toxic Avenger) actor Sean Gunn (Gilmore Girls) editor Frank Reynolds and editor Gabriel Friedman (Terror Firmer Citizen Toxie Poultrygeist). 2 hours of interviews with crew and cast members including Debbie Rochon (Ness) Tiffany Shepis (Peter) Sean Gunn (Sammy) Stephen Blackehart (Benny) and Lemmy (from Motorhead). Deleted Scenes including Ron Jeremy's missing scene and a new featurette of James and Lloyd commenting on the missing scenes. Rehearsal footage of Jane Jensen and Debbie Rochon Getting Hostel With Hollywood: James Gunn and Lloyd Kaufman visit Eli Roth's birthday party Slithering Through Hollywood Extended Version: A new longer version of Lloyds visit to the set of James Gunns Slither. Fan re-enactments of scenes from the film
A babysitting uncle tells his charges three horror stories - about a killer witch, Little Red Riding Hood and a werewolf, and Goldi Lox and the three bears.
Raffles Complete Series (4 Discs)
IN WHITEWOOD, TIME STANDS STILL Christopher Lee was already a horror icon when he started filming The City of the Dead in 1959. Having played Frankenstein's Monster, Count Dracula and The Mummy for Hammer, this new picture would allow him to extend his range to the American Gothic and witchcraft in a small New England village Lee plays Professor Driscoll, an authority on the occult who persuades one of his students (Venetia Stevenson) to research his hometown, Whitewood, once the site of witch burnings in the 17th century. Booking herself into the Raven's Inn, she soon learns that devil worship among the locals hasn't been consigned to the past. Produced by future Amicus founders Milton Subotsky and Max Rosenberg, and beautifully shot by Desmond Dickinson (whose credits ranged from Laurence Olivier's Hamlet to Horrors of the Black Museum), The City of the Dead is a wonderfully atmospheric and still shocking slice of horror that stands firmly alongside with its Hammer contemporaries. SPECIAL EDITION CONTENTS: New 4K digital restoration by the Cohen Film Collection and the BFI High Definition Blu-ray (1080p) and Standard Definition DVD presentations of two versions of the film: The City of the Dead and the alternative US cut, Horror Hotel Uncompressed Mono 1.0 PCM Audio Optional English subtitles for the deaf and hard of hearing Audio commentary by film critic Jonathan Rigby, author of English Gothic: Classic Horror Cinema 1897-2015 and Christopher Lee: An Authorised Screen History, recorded exclusively for this release Trailer Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys MORE TO BE ANNOUNCED! FIRST PRESSING ONLY: Illustrated collector's booklet featuring new writing by Vic Pratt
Get ready for intense sci-fi action adventure with Beyond Skyline, the stand-alone sequel to 2010 hit Skyline. Los Angeles Detective Mark Corley (Frank Grillo, Captain America: The Winter Soldier) thought bailing out his eighteen-year-old son, Trent (Jonny Weston, Taken 3), was the worst part of his day. But on the ride home, the skies above fill with a strange blue light. Within moments, the entire city's population is vacuumed up into a massive alien ship including his son. In the aftermath, the resilient Mark and a few survivors encounter a highly skilled resistance force in South East Asia, led by the deadly Sua (Iko Uwais, The Raid 1 & 2). In a race against time, these warriors from different sides of the world must unite to save their families and take back the planet.
The complete third season of undercover adventures with Starsky and Hutch as they use their iconic Gran Torino to bust criminals following tip-offs from coolest informer on the streets Huggy Bear... Episodes comprise: 1. Starsky & Hutch on Playboy Island (a.k.a. Murder on Voodoo Island) (1) 2. Starsky & Hutch on Playboy Island (a.k.a. Murder on Voodoo Island) (2) 3. Fatal Charm 4. I Love You Rosey Malone 5. Murder Ward 6. Death in a Different Place 7. The Crying Child 8
A hit in Europe but a flop in the US--where it was trimmed, rescored, and given a new ending--Luc Besson's The Big Blue has endured as a minor cult classic for its gorgeous photography (both on land and underwater) and dreamy ambiance. Jean-Marc Barr is a sweet and sensitive but passive presence as Jacques, a diver with a unique connection to the sea. He has the astounding ability to slow his heartbeat and his circulation on deep dives, "a phenomenon that's only been observed in whales and dolphins until now," remarks one scientist. Kooky New York insurance adjuster Joanna (Rosanna Arquette at her most delightfully flustered and endearingly sexy best) melts after falling into his innocent baby blues, and she follows him to Italy, where he's continuing a lifelong competition with boyhood rival Enzo (Jean Reno in a performance both comic and touching). Besson's first English-language production looks more European than Hollywood, and it suffers from a tin ear for the language. At times it feels more like an IMAX undersea documentary than a drama about free divers, but the lush and lovely images create a fairy tale dimension to Jacques's story, a veritable Little Merman. More dolphin than man, he's so torn between earthly love and aquatic paradise that even his dreams call him to the sea (in a sequence more eloquent than any speech). Besson has expanded the film by 50 minutes for his director's cut, which adds little story but slows the contemplative pace until it practically floats in time, and has restored Eric Serra's synthesizer-heavy score, a slice of 1980s pop that at times borders on disco kitsch. Most importantly, he has restored his original ending, which echoes the fairy tale he tells Joanna earlier in the film and leaves the story floating in the inky blackness of ambiguity. --Sean Axmaker, Amazon.com
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