Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk". Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is incontestable when he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater".The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson
Violence and mayhem ensue after a hunter stumbles upon some dead bodies, a stash of heroin and more than $2 million in cash.
A transcontinental dream that quickly turns into a living nightmare for an American couple travelling on one of the world's most legendary railway journeys.
Legendary comic filmmakers Sandy Bates (Allen) is tired of being funny. Teetering on the brink of a nervous breakdown Bates attends a weekend retrospective of his films only to confront the meaning of his work the memories of his great love Dorrie (Charlotte Rampling) and the merits of settling down with new girlfriends Isobel (Marie-Christine Barrault). Plagued by hallucinations alien visitations and the bloodless studio executives trying to re-cut his bleak new film Bates struggles to find a reason to go on living. But when he falls prey to a gun-wielding fanatic his zany brush with death reveals that there is value to his own existence and that often the best reason to go on living is life itself.
Acclaimed director Scott Cooper takes audiences on a vivid and intense journey into the heart of a fading American Dream in Out of the Furnace, as fate, family and loyalty drive an ordinary man to take heroic measures to fight for those he loves.
The mystical tale of a World War One veteran (Matt Damon) and championship golfer who returns to his sport with the aid of his caddy (Will Smith) who teaches him how to master any challenge in life.
Writer-director Woody Allen's 1975 comedy finds the familiar Allen persona transposed to 19th-century Russia, as a cowardly serf drafted into the war against Napoleon, when all he'd rather do is write poetry and obsess over his beautiful but pretentious cousin (Diane Keaton). A total disaster as a soldier, Allen's cowardice serves him well when he hides in a cannon and is shot into a tent of French soldiers, suddenly making him a national hero. After his cousin agrees to marry him, thinking he'll be killed in a duel he miraculously survives, the couple must hatch a ludicrous plot to assassinate Napoleon in order to keep the coward Allen out of yet another war. Allen and Keaton show what a perfect comic team they make in this film, even predating their most celebrated pairing in Annie Hall. Working so well as the most unlikely of comedies, of all things a hilarious parody of Russian literature, Love and Death is a must-see for fans of Woody Allen films. --Robert Lane
He's a big city plastic surgeon...in a small town that doesn't take plastic. A brash young medical resident is driving across the country to begin a career in Beverly Hills as a cosmetic surgeon to the stars. But an accident of fate strands him in a small southern town. There his outlook on life - and love - gets a down-home twist that changes him forever.
In the 1970s the crime film flourished in Italy as the country went through years of political and social unrest, the so-called Years of Lead'. Italian movie producers would capitalise on these times by producing cheap, violent movies about national organised crime and corruption, establishing the genre of the poliziotteschi. One of the most celebrated poliziottesco directors was Fernando Di Leo, a director as concerned with telling entertaining stories as he was with creating socially relevant backdrops. In Di Leo's The Italian Connection, the New York mob dispatch two hitmen (Henry Silva, The Boss and Woody Strode, Once Upon a Time in the West) to apprehend pimp Luca Canali (Mario Adorf, Milano Calibro 9), who they believe to have stolen a shipment of heroin. The local mob also join the hunt, but despite being outnumbered Luca refuses to go quietly and fights back against his pursuers, leading a thrilling series of chases and shootouts, and a trail of bloody destruction. A noted influence on Quentin Tarantino's Pulp Fiction, this is the poliziottesco at its most entertaining and action-packed.
Director Richard Brooks' marvellous ode to friendship, loyalty and disillusionment The Professionals may not have the stylistic bravado or fatalistic doom of Sam Peckinpah's more famous The Wild Bunch, but Brooks' storytelling is simple and steady and just as insightful. The difference is that Brooks is a lot more optimistic. Lee Marvin and Burt Lancaster are buddies who have drifted into oblivion after fighting together in the Mexican Revolution. Marvin, the principled loyalist and munitions expert, lost his wife and his heart. Lancaster, the dynamite expert and unprincipled adventurer, keeps losing his pants. They team up with wrangler Robert Ryan and archer Woody Strode to rescue the beguiling Claudia Cardinale, who has been kidnapped by their old revolutionary buddie Jack Palance. So it's back into bloody Mexico they go on a "mission of mercy" for railroad tycoon Ralph Bellamy, who's paying handsomely for the return of his wife. But nothing is what it seems in this exciting, existential adventure, which was beautifully shot by Conrad Hall. Sarcastic quips, philosophical musings and heart-rending reversals underlie Brooks' humanistic sentiments. These are tired, world-weary men who somehow find the strength and the will to pull together for the sake of love and commitment. Through it all, Brooks seems to be lamenting a decline in professionalism much deeper than his story. He's decrying Hollywood and the society at large, anticipating Peckinpah's later strategy. --Bill Desowitz
KEOMA's creators - Italian director Enzo G. Castellari and its star, legendary actor Franco Nero - are icons to Quentin Tarantino, who famously called Castellari 'My Master' when reimagining his 'Inglorious Bastards' (even inviting him for a cameo). Equally a devoted fan of Nero - who rose to fame as the original anti-hero Django - Tarantino also gave him a scene-stealing appearance in his tribute, 'Django Unchained'. Keoma's bold visual style - marked by Castellari's extravagant slow-motion, dynamic camera work, and operatic violence -left a lasting mark on Tarantino's filmography, revealing how deeply these Italian trendsetters shaped one of Hollywood's most influential directors. Screen-legend Franco Nero reprises his relentless deadly gunslinger persona, now as the eponymous Keoma who, returning to his hometown, finds it ruled by a gang of sadistic killers. With the help of his old friend (a superb Woody Strode), Keoma unleashes a brutal and bloody war against the ruthless bunch in a bitter showdown where only one man will be left standing. This gritty, no-holds-barred western classic is now presented from 2K restored vault materials, finally showcasing its iconic set pieces and striking action cinematography like never before. SPECIAL FEATURES: EXTRAS: Interview with Director Enzo G. Castellari on the making of Keoma' Interview with Editor Gianfranco Amicucci Alex Cox (legendary cult director of 'Repo Man, Syd & Nancy' and curator of BBC's Moviedrome) presents 'Keoma' 2nd Interview with Director Enzo G. Castellari, in a candid chat on his career New reworked English subtitles & additional SDH Full 1080P encode from 2K restored vault materials Reversible Sleeve with original poster Tarantino, a huge fan of Enzo G. Castellari - whom he famously called 'My Master' - often cites Keoma' as one of his favorite spaghetti westerns. He admires its operatic violence, dynamic camera work, and how it subverts traditional western tropes. Tarantino's love for the film has helped bring it renewed attention among modern audiences. The Spaghetti Western Database: one of the most unusual and visually striking spaghetti westerns ever made a masterpiece of the genre. Cinephilia & Beyond commend Castellari's direction and the film's willingness to tackle deeper issues like racism, family, and redemption: haunting and poetic western
Woody Allen's second film as a director was a wild, unpredictable and unlikely comedy about a product-tester named Fielding Mellish (Allen), who can't quite connect with the woman of his dreams (Louise Lasser, Allen's ex-wife). He accidentally winds up in South America as a freedom fighter for a guerrilla leader who looks like Castro. Once he assumes power, the new dictator quickly goes insane--which leaves Fielding in charge to negotiate with the US. The film is chockfull of wonderfully bizarre gags, such as the dreams Fielding recounts to his shrink about dueling crucified messiahs, vying for a parking place near Wall Street. Look for an unknown Sylvester Stallone in a tiny role--but watch this film for Allen's surprisingly physical (and always verbally dexterous) humour. --Marshall Fine
ZOMBIELAND 1 (2009) Nerdy college student Columbus (Jesse Eisenberg) has survived the plague that has turned mankind into flesh-devouring zombies despite being scared of just about everything. Gun-toting, Twinkie-loving Tallahassee (Woody Harrelson) has no fears. As they join forces with Wichita (Emma Stone) and Little Rock (Abigail Breslin) who have also found unique ways to survive the zombie mayhem, they will have to determine which is worse: relying on each other or succumbing to the zombies. ZOMBIELAND: DOUBLE TAP A decade after Zombieland became a hit film and a cult classic, the lead cast (Woody Harrelson, Jesse Eisenberg, Abigail Breslin, and Emma Stone) have reunited with director Ruben Fleischer (Venom) and the original writers Rhett Reese & Paul Wernick (Deadpool) for Zombieland: Double Tap. In the sequel, written by Rhett Reese & Paul Wernick and Dave Callaham, through comic mayhem that stretches from the White House and through the heartland, these four slayers must face off against the many new kinds of zombies that have evolved since the first movie, as well as some new human survivors. But most of all, they have to face the growing pains of their own snarky, makeshift family. Running Time: ZOMBIELAND 1 (2009) 1 hr 28 mins ZOMBIELAND: DOUBLE TAP 1 hr 33 mins
From the creators of the comedy smash Dumb and Dumber comes this outrageous comedy about a former bowling champion (Woody Harrelson) who finds himself reduced to a sleazy small time hustler thanks to a double-crossing bowling conman (Bill Murray). When the one-time champion discovers a new protg (Randy Quaid) among the Amish of Pennsylvania Dutch country he thinks he's found his ticket back to the fast lane. A riotously funny road trip ensues as this hysterically mismatched duo sets out to con their way to the bowling tournament in Reno Las Vegas Nevada. On the way they find a secret weapon - Claudia (Vanessa Angel). She can swing a mean ball and has the best pins in the business.
New York Stories comprises three views of life in the city of all cities, with segments directed by Woody Allen, Francis Coppola, and Martin Scorsese. The best of the three is Scorsese's "Life Lessons", about an artist (played by Nick Nolte) who uses his hyper-success to lure beautiful, young, aspiring artists to serve as his assistant/lovers. It's an astute portrait of the nature of the New York art world. In "Life Without Zoe", Coppola portrays the life of the privileged daughter of a world-renowned flautist, whose adventures on the Upper East Side (in the upper echelons of society) play like something approaching a cartoon. Woody Allen finishes up the film with his "Oedipus Wrecks", a typical Allen number about a successful New York lawyer who's still hounded by his mother--the title tells you all you need to know. Though stronger segments to complement Scorsese's would have made the movie as a whole much more interesting and enjoyable, it does at least provide an accurate glimpse of life in the Big Apple. --James McGrath, Amazon.com
Zombieland focuses on two men who have found a way to survive a world overrun by zombies. Columbus is a big wuss. Tallahassee is a zombie-slayin' badass. But the pair has to decide which is worse: relying on each other or succumbing to the zombies.
Sergio Leone's monumental picture ranks among his most admired achievements. In the dying days of the Old West, a struggle to control water in a dusty desert town embroils three hard-bitten gunmen in an epic clash of greed, honor and revenge. Henry Fonda stars in his most sinister role as Frank, a hired killer who ruthlessly slays an entire family. Jason Robards plays Cheyenne, an infamous bandit framed for the slaughter. And Charles Bronson is The Man, a mysterious loner determined to exact vengeance for a grudge he refuses to divulge. An influence on countless directors, Leone's masterpiece is considered among the greatest Westerns ever made. SPECIAL FEATURES Commentary with Contributions from Directors John Carpenter, John Milius & Alex Cox, Film Historians Sir Christopher Frayling & Dr. Sheldon Hall, and Cast & Crew An Opera Of Violence The Wages Of Sin Something To Do With Death Railroad: Revolutionising The West Locations Then & Now Production Gallery Theatrical Trailer
Whether as a subject for historical investigation or social drama, the war in the former Yugoslavia is made for film, as 1997's Welcome to Sarajevo demonstrates. Inspired by the book Natasha's Story by ITN reporter Michael Nicholson, this takes very much a human-interest angle on the conflict. Stephen Dillane plays a journalist whose involvement moves from the professional to the personal as he faces up to marauding Serbian mercenaries, then family ties, to get the apparently orphaned Emira out of Sarajevo and back to the security of his own family in the UK. It could have been awash with journalists-are-good-guys-really sentiment, but director Michael Winterbottom is mindful to present the story in the context of the siege--some of the filming here is harrowingly realistic--and draws responsive performances from a cast including Woody Harrelson as a hard-living American reporter and Marisa Tomei as an aid worker determined to save children's lives at all costs. As a film about the "why" of the Yugoslavian war, Pretty Village, Pretty Flame is unsurpassed, but Welcome to Sarajevo is a potent look into the "how". On the DVD: Welcome to Sarajevo comes to DVD with a decent 16:9 anamorphic picture and Dolby Digital 5.1 sound that has the necessary immediacy. English subtitles are included, rightly so in a film of this nature. Special features include 30 minutes of interview snippets with cast and crew, "on location" sequences and three theatrical/TV trailers. --Richard Whitehouse
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