Vincent Price and Nancy Kovack star in this horror directed by Reginald Le Borg. After the funeral of French magistrate Simon Cordier (Price), his secret diary is read out to a select few people including his servants and the local police captain. The diary contains descriptions of a malevolent entity Cordier refers to as an horla that is capable of complete mind control. As the story develops Cordier's acquaintances learn of his horrific final days and begin to wonder how he actually died...
The lightest of the first three films, Lethal Weapon 3 finds everyone occupying comfortable positions like students who always choose to sit in the same classroom seats. Mel Gibson and Danny Glover return as LAPD partners whose working method consists of the former diving into danger and the latter holding back. (The sequence set in the parking garage of a building, in which Gibson inadvertently trips a switch that makes a timed explosive device speed up, is priceless.) Joe Pesci once again plays a motor-mouth pest, and while the story is pretty much forgettable, it does introduce the best new dynamic in the series, a romance between Gibson and Rene Russo's equally tough but attractive cop. --Tom Keogh
This Hitchcock thriller is mainly famous for its climax, which finds the villain (Norman Lloyd) hanging by his sleeve from the torch on the Statue of Liberty as the seam begins to unravel. Otherwise, it's not one of the director's great pictures, though it's still worth a look. Set during the initial stages of World War II, the story concerns a ring of Nazi fifth columnists who plot to weaken American military defences by blowing up a munitions factory, a dam and a battleship. In an early example of Hitchcock's celebrated "wrong man" theme, the hero Barry Kane (Robert Cummings) gets falsely accused of sabotage and becomes a fugitive, hunted from coast to coast. Eventually, he hooks up with the heroine Pat Martin (Priscilla Lane), a super-patriot who takes some convincing of his innocence and plans to turn him in--until the inevitable chemical reaction occurs. It's a highly episodic tale that may put you in mind of Hitchcock's previous The 39 Steps (1935) and his later North by Northwest (1959).The miscellaneous incidents (a shoot-out at a cinema, a bizarre encounter with the freaks in a circus troupe) are often exciting in themselves. The trouble is they just sort of lie there like so-many scattered marbles, never building into a coherent and satisfying whole. The bland dialogue supplied by novice screenwriter Peter Viertel doesn't help matters much. Neither does the casting of the two stars, square, wholesome types, entirely lacking in the perversity and eccentricity one associates with the Hitchcock universe. (It's tedious to hear Lane endlessly mouthing off about the American way, while Cummings must be counted one of the dullest leading men in Hollywood history.) Still, this half-hearted effort by the pot-bellied master of suspense would probably make the reputation of a dozen lesser directors. --Peter Matthews
Having based so much of his career on the films from the region, Jean Claude Van Damme heads to Hong Kong itself for his film Knock Off. Set in the 72 hours running up to the British handover to China (and released a mere year after the actual event), the film's action centres around the colony's thriving bootleg business, tied in with a rather convoluted plot concerning the CIA, Russian Mafia and an attempt to hold the United States to ransom through covert attacks. The opening section unwisely tries Van Damme's hand at knockabout humour with partner Rob Schneider but merely proves that the star is severely lacking the sort of humorous touch that Arnold Schwarzenegger has so successfully utilised. Once Knock Off descends into more familiar Van Damme territory, the film--and its leading man--are on surer ground. There are a good deal of spectacular fight sequences, some amazing stunts and a feisty female sparring partner in the form of Lela Rochen. Even the always-reliable Paul Sorvino pops up. Director Tsui Hark hits upon some interesting and initially invigorating visual effects but soon overdoes them, actually highlighting the lack of decent story rather than enhancing it. There is an incredible film to be made about this period in history but this isn't it. Knock Off is merely another undemanding, high-kicking, high-octane vehicle for Van Damme. --Phil Udell
The series formula started to kick in with this immediate sequel to Lethal Weapon, but that doesn't necessarily make it a weak movie. Joe Pesci joins the fold, Richard Donner directs again, and Mel Gibson and Danny Glover return as LAPD partners, their relationship smoother now that Gibson's character has recovered from his maddening grief over his wife's death. But the reckless Mel and cautious Danny equation, good for a million laughs, settles into place in this story involving a South African smuggler and a new girlfriend (Patsy Kensit) for Gibson. The movie is hardly comfy, though. The last act gets nasty, and a climactic fight between Gibson (who gets the worst of it) and some high-kicking villain is ugly. --Tom Keogh
Starring Jane Powell and Howard Keel this musical showcase of spectacular love songs and dazzling dance numbers garnered a 1954 Academy Award for Best Score (Musical) and received four additional nominations including Best Picture and Best Screenplay. Featuring such memorable tunes as ""Bless Yore Beautiful Hide"" and ""Goin' Co'tin "" When rugged frontiersman Adam (Keel) sweeps local beauty Milly (Powell) off her feet the whole town is turned upside-down. But no one's more shocked than Milly who discovers that she's now expected to cook and clean not only for Adam but for his six rowdy brothers too! Well Milly's no pushover and soon she has those boisterous boys whipped into ""groomhood"" and dancing for joy over six brides of their own!
In a race against (and through) time Timecop Ryan Chang (Jason Scott Lee) must track down a deranged criminal in a chase that leads him to the American Wild West and Nazi Germany in order to save the future...
In the fourth and reportedly final film of the Lethal Weapon series, director Richard Donner reunites with Mel Gibson and Danny Glover, who reprise their roles as Martin Riggs and Roger Murtaugh for one last hurrah in a film that is decidedly better than the third and first chapters. This time the pair are pitted against Jet Li, who plays the leader of a Chinese organised crime unit. Li, a veteran of hundreds of Hong Kong action films, more than holds his own against the more established team of Gibson, Glover, Rene Russo and Joe Pesci with his subtle yet strong portrayal of the quietly irrepressible Wah Sing Ku. As always with the Lethal series, the plot is incredibly simple to follow: someone steals something, someone gets killed and Murtaugh is reluctantly thrown into the mix while Riggs dives into the case with gleeful aplomb. As with the previous movies, we watch for the sheer action and chemistry alone. The action sequences throughout the fourth instalment are exquisite, from the opening scene involving a flame-thrower, a burning building and a half-naked Murtaugh strutting like a chicken (don't ask, just watch), to the climactic showdown that pays genuine tribute to Jet Li's masterful martial art skills. As for chemistry, the bond between these characters is so strong by now that you sometimes feel like you're watching a TV series in its sixth season, such is the warm familiarity between the audience and the personalities on the screen. The humour is more fluid than ever, aided immeasurably by the casting of comedian Chris Rock, who like Li does a great job of making his presence known in some memorable verbal tirades that would bring a smile out of the Farrelly brothers. But it's the verbal and emotional jousting between Glover and Gibson that makes this fourth episode especially appealing; both are in peak form with great physical and verbal timing. One can only hope that if this is indeed the last of the Lethal films, that it won't be the last time we see Glover and Gibson together on screen. --Jeremy Storey
Academy Award winner Charlize Theron plays Mavis Gary, a writer of teen literature who returns to her small hometown to relive her glory days and attempt to reclaim her happily married high school sweetheart (Patrick Wilson).
The early 1900's with its Mann-Act (disallowing women to be transported across State lines for immoral reasons) brings a married man to devise a scheme for taking his upper-class girlfriend away with him... he simply has her marry his unmarried buddy. However, it doesn't take very long before both men start laying claim to her affection... until, that is, she's about to be cut out of her parent's fortune. So, a new scheme is devised, which only adds to their problems...
Starring Jane Powell and Howard Keel this musical showcase of spectacular love songs and dazzling dance numbers garnered a 1954 Academy Award for Best Score (Musical) and received four additional nominations including Best Picture and Best Screenplay. Featuring such memorable tunes as ""Bless Yore Beautiful Hide"" and ""Goin' Co'tin "" Seven Brides For Seven Brothers is ""an unending source of enjoyment - the best in every way "" --Los Angeles Times! When rugged frontiersman Adam (Keel)
Mel Gibson set aside his art-house credentials to star as a crazy cop paired with a stable one (Danny Glover) in this full-blown 1987 Richard Donner action picture. The most violent film in the series (which includes three sequels), Lethal Weapon is also the edgiest and most interesting. After Gibson's character jumps off a building handcuffed to a man, and Gary Busey (as a cold, efficient enforcer) lets his hand get burned without flinching, there is a sense that anything can happen, and it usually does. Donner's strangely messy visual and audio style doesn't make a lot of aesthetic sense, but it stuck with all four movies. --Tom Keogh
A Scotland Yard investigator looks into four mysterious cases all associated with the same unoccupied house...
Saved from the brink of cancellation by its loyal fanbase, Star Trek's third and final season rewarded them with a number of memorable episodes. Tight budgets and slipping creative control, however, made it the most uneven, though it did have some of the coolest episode titles ("For the World Is Hollow and I Have Touched the Sky", "Is There in Truth No Beauty", "Let That Be Your Last Battlefield"). Some of the best moments involved a gunfight at the OK Corral ("Spectre of the Gun"), a knock-down drag-out sword battle with the Klingons aboard the Enterprise ("Day of the Dove"), the ship getting caught in an ever-tightening spacial net ("The Tholian Web"), TV's first interracial kiss ("Plato's Stepchildren"), Sulu taking command ("The Savage Curtain"), and Kirk's switching bodies with an ex-love interest ("Turnabout Intruder"). Also appearing in the set as a coda are two versions of the series pilot, "The Cage", a restored color version and the original, never-aired version that alternates between color and black and white. Starring Jeffery Hunter as Captain Pike, Leonard Nimoy as a relatively emotional Spock, and Majel Barrett (the future Nurse Chapel and Mrs. Gene Roddenberry) as a frosty Number One, this pilot was rejected, but a second was commissioned, "Where No Man Has Gone Before", now considered the "official" beginning of the series. But "The Cage" is very recognizably Star Trek with its far-out concepts (telepathic aliens collecting species samples), sexy humanoid women, character development, and of course cheesy costumes and special effects. Footage was later reused in the season 1 two-parter, "The Menagerie". The best of the 63 minutes of bonus material focuses on three of the actors: Walter Koenig, George Takei, and James Doohan. Koenig discusses how he was cast and shows off his various collections, one consisting of Chekov figurines. Takei speaks movingly about the Japanese American internment and, in what is probably his last Star Trek appearance, Doohan, slowed by Alzheimer's but still with a twinkle in his eye, recalls his voiceover roles and his favorite episodes. The Easter eggs are amusingly called "Red Shirt Files" in tribute to those poor saps who everyone knew were only in the landing party so they could die. --David Horiuchi
American Pickers (3 Discs)
Once upon a time in China & America' is one of the biggest budget Hong Kong movies of all time taking over million at the box office and combines the talents of Director Sammo Hung and Producer Tsui Hark together with a heady mix of gunplay and Kung Fu action with Jet Li proving that the fastest guns in the West are no match for the fastest hands in the East. Wong Fei Hung (Jet Li) together with his fiancee (Rosamund Kwan) and devoted sidekick Seven (Yueng Pan Pan) find themselves in the Wild West in search of new horizons. However an early confrontation with Native American Indians renders Jet unconcious and parted from his group. When he comes to he finds he has lost his memory but the one thing that is still clear in his mind is the ability to fight with lightening speed. The warriors of the tribe are amazed at his unique abilities and offer him respect and friendship. Unable to communicate he manages through sign language to persuade them to help him find his true identity leading to countless action packed encounters on his path to be reunited with his friends.
Disc 1: 1. On The One Road 2. Streets Of New York 3. Padraic Pearse 4. Irish Eyes Are Smiling 5. Sunday Bloody Sunday 6. Fermanagh 7. Down By The Glenside 8. Quare Things In Dublin 9. Women Of Ireland 10. Star Of The County Down 11. Danny Boy 12. The Orange And The Green 13. Dreams Of Home 14. Irish Soldier Laddie 15. In Belfast 16: Wolfe Tones Live Medley - Never Beat The Irish / Sean South / Broad Black Brimmer Disc 2: 1. Celtic Symphony 2. The Rebel 3. Joe MacDonnell 4. Boston Rose 5. Men Behind The Wire 6. Banna Strand 7. The Crossing 8. Connaught Rangers 9. The Green Glens Of Antrim 10. My Heart Is In Ireland 11. This Is The Day 12. Patriot Game 13. Bold Robert Emmett 14. Only Our Rivers Run Free 15. Tyrone 16. Lament For The Lost 17. Let The People Sing 18. Up The Rebels Dance Mix 19. Teddy Bear's Head 20. Helicopter Song 21. A Nation Once Again
A young man is on trial for a wealthy widow's murder after he suspiciously profits from her will. His only hope for aquital is his wife's testimony but his airtight alibi shatters when she reveals some shocking secrets of her own...
Syd is a strung-out wealthy 20-year old guy whose life is about to go from meaningless to futile. After a massive drug spree he awakes to the news that he is about to lose his ""one true love"" forever... Syd's ex-girlfriend is moving from New York to Los Angeles. Syd has one more chance to win her back at her going-away party. Syd stocks up on cocaine and goes off to the party with Bateman a young English banker he's just met. Throughout the evening however - punctuated by regular drug breaks in the bathroom - we discover that Syd's relationship problems involve more than friction with his girlfriend. Is there a light at the end of the tunnel?
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