With hindsight, Star Trek III: The Search for Spock is the satisfactory middle instalment of a well-rounded trilogy that began with The Wrath of Kahn and ended with The Voyage Home (after which this crew really should have retired gracefully). But on its first release, few fans knew what to expect and initial impressions were disappointing. The biggest talking points were that the film was Leonard Nimoy's directorial debut and that his name wasn't in the opening credits. Naturally, the biggest question was just how would the loss of Spock affect the franchise? That question was neatly dodged and what audiences got instead was a tale of team-spiritedness, sacrifice and rebellion that ended on a question mark. In other words it was a fun ride without many answers. The centrepiece of the movie has to be stealing The Enterprise, a beautifully conceived sequence that remains at the heart of classic Trek's filmic storyline: sacrificing all for the sake of friendship, Kirk and co. set out to rescue their lost companion; this single action defines everything the characters had ever meant to each other, and has an effect on everything that followed. And if the loss of Spock had left audiences eager for more, that was as nothing compared to the loss of The Enterprise. On the DVD: Star Trek III on disc does not come in a new transfer as the previous two special edition DVDs, and you won't find any deleted or new scenes either. The extras package is fascinating, nonetheless, especially with the contributions from Nimoy. His fond reminiscences in the commentary track are priceless, with good support from writer-producer Harve Bennett, director of photography Charles Correll, and Robin Curtis (Saavik). The text commentary from the Okudas isn't as involving as the others, sadly, but this is made up for by the trivia dished out in documentaries covering: model-making, costume design, the science of Terraforming, and how to speak Klingon. The best inclusion is "Captain's Log" featuring interviews with an enthusiastic Nimoy, a sarcastic Shatner, an appreciative Curtis and the rarely seen Christopher Lloyd. --Paul Tonks
Clint Eastwood (making his very assured directorial debut) is a poetry-spouting stud-muffin DJ stalked by a maniacally amorous fan after a misguided one-night stand in this enjoyably schlocky, undeniably effective film about good intentions gone murderously wacky. Although many of the very 1970s trappings presented here may ultimately be too dated to be taken seriously (including a highly self-indulgent jazz number and a hilariously gooey seduction number between Eastwood and Donna Mills), the core premise of infatuation taken out of bounds remains uncomfortably plausible--and was influential enough to be appropriated by one of the biggest hits of the 1980s. (Here's a hint--it starred Michael Douglas, Glenn Close, and a very unfortunate bunny rabbit.) A well-staged and occasionally very frightening thriller worth watching for Jessica Walter's peerlessly unhinged performance alone. Frequent Eastwood collaborator Don Siegel (director of Dirty Harry, Coogan's Bluff and The Beguiled, to name but a few) has a nice cameo as Murphy, the moustachioed, chess-playing bartender. --Andrew Wright, Amazon.com
Susan Clarkson sets off on an adventure she hadn't bargained for when she joins a yacht to cruise from San Diego bound for Vancouver. When a storm hits the engine cuts out so the crew abandon the vessel. Hurt hungry and adrift matters worsen....
At the height of urban paranoia and the birth of survivalist movement in the 1980s, director Michael Ritchie decided to team Robin Williams and Walter Matthau in The Survivors. Talk about an odd couple; yet it actually might have worked, with Matthau's hang-dog deadpan and Williams' manic energy, were it not for a limp script by Michael Leeson. Williams and Matthau play two victims of Reaganomics, unemployed acquaintances who witness a robbery and identify one of the participants to the police, an act that turns them into targets for the robber in question who comes looking for them. Williams' response: become a one-man arsenal and join a training camp for militant survivalists. But the comedy is neither sharp enough nor sufficiently smart to pull it off; Matthau is the calm centre while Williams' comedy rockets all around him, to surprisingly little effect. --Marshall Fine, Amazon.com
In protest at the corruption and hypocrisy he sees all around him an unemployed man calling himself ""John Doe"" has written to the New Bulletin newspaper pledging to throw himself from the top of City Hall on Christmas Eve. Written by a discharged journalist as a publicity stunt and as a parting shot at the paper's new editor the premise of the letter unexpectedly fires the imagination of the bulletin's readers and the wider American public. Its real author Ann Mitchell (Barbara S
In Charade Audrey Hepburn plays a Parisienne whose husband is murdered and who finds she is being followed by four men seeking the fortune her late spouse had hidden away. Cary Grant is the stranger who comes to her aid, but his real motives aren't entirely clear--could he even be the killer? The 1963 film is directed by Stanley Donen, but it has been called "Hitchcockian" for good reason: the possible duplicities between lovers, the unspoken agendas between a man and woman sharing secrets. Charade is nowhere as significant as a Hitchcock film, but in terms of suspense it holds its own; and Donen's glossy production lends itself to the welcome experience of stargazing. You want Cary Grant to be Cary Grant and Audrey Hepburn to be no one but Audrey Hepburn in a Hollywood product such as this, and they certainly don't let us down. --Tom Keogh, Amazon.com
'Unforgiven' co-star Morgan Freeman narrates a richly entertaining insider's look at Eastwood's personal life and public career. Loaded with rare archival material star commentaries and memorable film clips ""it's a keeper"" (Ed Bark The Dallas Morning News).
Before Eve there was Evil... and her name was Lilith! Available on DVD for the first time. Warren Beatty and Jean Seberg co-star in this haunting drama about the obsessive love between a therapist and his patient. Vincent (Beatty) a war veteran returns to his bleak Maryland hometown and takes a job as an occupational therapist at Poplar Lodge a private mental institution for the wealthy. There Vincent meets a young schizophrenic Lilith (Seberg) an enchanting patient who
Director Oliver Stone is celebrated in this four-film, six-disc box set collection that includes two-disc "director's cut" versions JFK and Any Given Sunday respectively, plus Heaven and Earth and the documentary Oliver Stone's America. JFK is that rarest of things, a modern Hollywood drama which credits the audience with intelligence. Epic in length--this 198-minute director's cut runs 17 minutes longer than the cinema version--Oliver Stone's film has the archetypal story, visual scale and substance to match; not just a gripping real-life conspiracy thriller, but a fable for the fall of the American dream. Stone's DVD commentary is thoughtful, eloquent and considered. The Dolby Digital 5.1 soundtrack and the anamorphically enhanced 2.35:1 picture are both first-class. The second disc contains 53 minutes of deleted and extended versions of scenes, all of which are available with or without commentary by Stone, a 10-minute video interview with the real "X", and a half-hour examination of documents only declassified in the wake of the film's release. Any Given Sunday is a massive 150-minute American football drama which, for all its ferocity and cynicism, is as soft-centred and clichéd as any Rocky-style underdogs-make-good crowd-pleaser. This is the director's cut with Stone's commentary ranging far and wide: he is far more interesting and thought-provoking to listen to than his film is to watch. The anamorphically enhanced 2.35:1 image and Dolby Digital 5.1 soundtrack are both flawless. The loaded second DVD includes Jamie Foxx's audition video, a routine 27-minute making-of documentary, music videos, outtakes set to music, and 33 minutes of deleted/alternative scenes with optional commentary from Stone. DVD-ROM and other features complete an exceptional package. Heaven and Earth follows Platoon (1986) and Born of the Fourth of July (1989) to conclude Stone's Vietnam War trilogy. Where Stone won Best Director Oscars for both previous films, Heaven and Earth proved a box-office disaster and went unrecognised by the Academy. It's hard not to think that racism underlay the commercial failure, for where the hit movies addressed the sufferings of white American soldiers played by Hollywood stars, Heaven and Earth focused on the fundamental victims, adapting the true story of a young Vietnamese woman, Le Ly, who goes from village girl to freedom fighter to wife of a US marine struggling to adjust to life in America to reconciliation in Vietnam. Superbly made, with a stunning performance by Hiep Thi Le as Le Ly, and powerful support from Tommy Lee Jones, this is intelligent, harrowing filmmaking which attempts to understand and bridge the divide between nations traumatised by war. Unfortunately heavily cut to bring it down to a multiplex-friendly running time, the often brilliant 135 minutes on show suggest a longer modern classic ended-up on the cutting room floor. The DVD features an incisive commentary by Stone, who alone of major Hollywood directors fought in Vietnam. Confirming that Heaven and Earth was heavily cut is the inclusion of 48 minutes of deleted/extended scenes, including a vastly extended 22-minute opening, Dolby Digital 5.1 sound and anamorphically enhanced 2.35:1 picture are excellent. Oliver Stone's America is a 53-minute interview in which Stone talks candidly about his films, concentrating on the trio included in the Oliver Stone Collection, firing off considered opinions at a rapid rate. Also included is Stone's student film, Last Year in VietNam, clearly influenced by the French New Wave in general and L'Année dernière à Marienbad (1961) in particular. --Gary S Dalkin
If you were watching TV in the mid-1970s chances are The Sweeney was one of the weekly highlights and these re-mastered collections will have you pining for a time when the only choice was brown or beige, and a monkey would buy you a lot more than a nice whistle. If, however, these episodes are your first taste of Detective Inspector Jack Regan (John Thaw) and Detective Sergeant George Carter (Dennis Waterman) of the Flying Squad, be warned that you will soon be telling friends to "Shut it!" and scouring the pages of Exchange and Mart for a mint-condition Ford Granada in Tawny Metallic (ironically the choice ride for slags in the show was the Jaguar MK2, later to become so closely associated with Thaw's more cerebral take on policework, Inspector Morse).First aired as 1974's pilot Regan, the show was produced by Thames Television subsidiary Euston Films and ran over four series and 53 episodes. Despite being given strict guidelines on speaking parts, locations and structure, writers were expected to produce scripts very quickly and individual episodes were filmed within 10 working days. Based on this frenetic schedule, the result was a choice parade of slags, blags and assorted lowlife, played out across fantastic London locations with a gritty humour that set the agenda for many of the small-screen cop shows to follow. Regan and Carter manage to fit up a few collars between pints, and even occasionally shed their nylon shirts and flares for a distinctly unromantic interlude between the sheets--brown of course.This first volume of Sweeney highlights starts in relatively sedate style with "Contact Breaker", written by Robert-Banks Stewart and featuring Warren Clarke (when he only had one chin) as wire-specialist Danny Keever. When parolee Keever seems bang-to-rights for a bank job Regan smells a rat and decides to have a closer look at other possibilities, including the ex-con's missus, Brenda (Coral Atkins). The second episode, "Night Out", is a much more feisty affair, despite nearly all the action being confined to the pub inhabited by Iris (Mitzi Rogers), an old flame of Regan's under suspicion for aiding and abetting the break-in going on in the bank next door. Troy Kennedy Martin's script throws in an Old West-style saloon fight, backstreet beatings and even one for old time's sake when Regan and Iris are forced play the waiting game together. "Well", as one character observes, "it is Saturday night"! --Steve Napleton
If you were watching TV in the mid-1970s chances are The Sweeney was one of the weekly highlights and these re-mastered collections will have you pining for a time when the only choice was brown or beige, and a monkey would buy you a lot more than a nice whistle. If, however, these episodes are your first taste of Detective Inspector Jack Regan (John Thaw) and Detective Sergeant George Carter (Dennis Waterman) of the Flying Squad, be warned that you will soon be telling friends to "Shut it!" and scouring the pages of Exchange and Mart for a mint-condition Ford Granada in "Tawny Metallic". (Ironically the choice ride for slags in the show was the Jaguar MK2 later to become so closely associated with Thaw's more cerebral take on police work, Inspector Morse.) First aired as 1974's pilot Regan, the show was produced by Thames Television subsidiary Euston Films and ran over four series and 53 episodes. Despite being given strict guidelines on speaking parts, locations and structure, writers were expected to produce scripts very quickly and individual episodes were filmed within 10 working days. Based on this frenetic schedule, the result was a choice parade of slags, blags and assorted lowlife, played out across fantastic London locations with a gritty humour that set the agenda for many of the small-screen cop shows to follow. Regan and Carter manage to fit up a few collars between pints, and even occasionally shed their nylon shirts and flares for a distinctly unromantic interlude between the sheets--brown of course. In "Stoppo Driver", when a gang of villains lose their own driver in a high-speed chase the logical replacement for their next blag is Cooney (Billy Murray), the squad's latest chauffeur who learnt everything he knew from Evel Knievel. Led by Barney ("a tough monkey, plenty of form") the thieves kidnap Cooney's bride on their honeymoon night and blackmail him to help them rob a bent card game. Colin Welland provides the hired muscle in the second episode, "Faces", as renegade ex-marine Tober, visiting the Smoke from Manchester to help a terrorist gang take down four quickfire scores to fund their operations. The Sweeney boys know a hard man when they see one ("he did Smoky Evans with a hatchet") and relish the opportunity for some fisticuffs between styrofoam cups of tea (like "liquid concrete"). Things get messy when a stuck-up intelligence officer tells them the final blag is being faked to rustle out his undercover grass and Regan is forced to stand down, despite having acted on their own pint-sized informant's tip-off: "but it was the dwarf"! --Steve Napleton
Jane Austen lit up the world with her words wit and wisdom. But her life too was stoked by passion and romance. In this film Anne Hathaway is Jane Austen a woman who believes in Love but is destined via her parents wishes to marry for money. But then Jane meets the dashing young Irishman Tom Lefroy (James McAvoy). His intellect and arrogance ignite Jane's curiosity and her world spins head over heels! In Becoming Jane a young lady on the first rung of literary greatness risks a romance that was to shape her life and her work!
In the ruthless world of contract killing the line between business and pleasure is one that should never be crossed. Music sensation Treach stars in the explosive and intense thriller Love And A Bullet. Maleek 'Ghost' Bishop (Treach) is a nasty dangerous killing machine - loaded with rage and a temper that's primed to explode. As word of his prowess in the fine art of murder spreads he finds himself recruited to join an elite band of professional hitmen. But when the big boss
The 13th Sign is a no-budget horror-action flick in which a solar-eclipse provides the backdrop for all manner of cultish goings-on in rural England. Obvious fans of The Wicker Man, directors Adam Mason and Jonty Acton gamely try to imbue the action with that film's sinister tones, most notably through the creepy rural setting and the appearance of a suave, philosophy-spouting country lord. Sadly they don't stop there, also throwing in (among a plethora of other jarring and disparate elements) a copious dose of supernatural mumbo-jumbo and a trio of cyberpunk hitmen. The film's miniscule budget is an Achilles' heel that cannot be disguised by enthusiasm alone. It is all very well staging a Desperado-style face-off to wow your audience, but its impact will inevitably be dampened somewhat if it has to take place outside the village Co-op. What we are left with then is a buxom, blood-drenched heroine gamely fighting a losing battle against bizarre bounty-hunters, lazily possessed rednecks, unconvincingly fiery-eyed demons and production values that make The 13th Sign look like the goriest and most convoluted You've Been Framed clip of all time. --Paul Philpott
An anonymous letter is sent to a newspaper protesting at the state of world affairs. Based on a story by Richard Connell. Also includes a biography of Gary Cooper and the theatrical trailer for 'Lives Of A Bengal Lancer'.
This box set features the classic Laurel and Hardy comedies! Laurel And Hardy And The Law More Brushes With The Law Pardon Us Blackmail
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