Blu-ray Disc Special Features: Designing the World of Blade Runner (Exclusive to Blu-ray) Blade Runner 101 Prologues 2036: Nexus Dawn Blade Runner 101 Prologues 2048: Nowhere to Run Blade Runner 101 Prologues 2022: Blackout
Nice concept, shaky execution--that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies and its central idea--the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow--is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the centre of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch)and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: the two scenarios are so romantically unbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. --Jeff Shannon
Rocky - The 1976 Oscar winner for Best Picture, John G Avildsen's Rocky is the story of a down-and-out club fighter who gets his million-to-one shot at a world championship title. In the title role, Sylvester Stallone (who also penned the screenplay) draws a carefully etched portrait of a loser who, in Brando-esque fashion, "coulda been a contender". Rocky then becomes one thanks to a publicity stunt engineered by current champ Apollo Creed (Carl Weathers), while finding love courtesy of timid wallflower Adrian (Talia Shire) along the way. Burgess Meredith revives the spirit of 1940's genre pictures through his scenery-chewing performance as Rocky's trainer. An enormously entertaining film, Rocky is irresistible in its depiction of an underachiever who has the courage to start all over again--a description that could have been applied to Stallone's own life at the time. --Kevin Mulhall Rocky 2 - The Italian Stallion returns for a rematch with Apollo Creed, hoping, finally, to capture the heavyweight title. This time, even his girlfriend, Adrian, gives Rocky her blessing. Sylvester Stallone wrote and directed this exciting follow-up, with Burgess Meredith, Talia Shire, Carl Weathers, and Burt Young all reprising their roles from the first film. Rocky 3 - Rocky's lifestyle of wealth and idleness is suddenly shaken when a powerful fighter challenges him to a fight for the championship. After being beaten, the previously over-confident Rocky resumes his training in preparation for a re-match. Rocky 4 - A World Heavyweight Boxing contest is to be staged between the champ, Rocky Balboa and the Soviet amateur champion, Ivan Drago. Both men know that this is more than just a tough contest of strength and skill. Rocky 5 - Times are hard for Rocky Balboa. A lifetime of taking punches has terminated his boxing career and a crooked accountant has left him in financial difficulties. The Balboa family moves back to its roots in a downtown neighbourhood where an aspiring boxer turns to the champ for training... Rocky Balboa - The sixth installment of the Rocky series picks up the story of the Italian Stallion 16 years after the morose Rocky V. And sure, at his advanced age, Sylvester Stallone now looks like one of those sides of beef his character used to pound on. No matter. Somehow you buy the premise after all these years, even if it takes forever for Rocky Balboa to stop wallowing in self-pity (Adrian is dead, his old haunts are demolished) and get down to the business of drinking raw eggs and running up steps. The business at hand is an unlikely exhibition fight with champion Mason Dixon (Antonio Tarver), which the near-sexagenarian Mr. Balboa has no business accepting. Of course, just as sure as the horns of Bill Conti's theme music are even now trumpeting through your head, the ol' Rock might have a punch or two left in him. Stallone wrote and directed, and there isn't much to say except that the movie steps in its pre-determined paces with a canny sense of what has come before (it's practically an homage to all the previous Rocky pictures, complete with fleeting flashbacks). Burt Young is around again, and Geraldine Hughes makes an appealing, rather chaste female companion for Rocky. Stallone's Rocky has gotten suspiciously articulate over the years, but he still knows how to slouch. If Stallone never forgets that, he can probably keep the franchise rolling. --Robert Horton
When a group of cannibal savages kidnaps settlers from the small town of Bright Hope, an unlikely team of gunslingers, led by Sheriff Franklin Hunt (Kurt Russell), sets out to bring them home. But their enemy is more ruthless than anyone could have imagined, putting their mission and survival itself in serious jeopardy. Kurt Russell leads an all-star cast including Patrick Wilson, Matthew Fox and Richard Jenkins in this gritty, action-packed thriller chronicling a terrifying rescue mission in the Old West.
In the 1980s special make-up effects artists became stars, pushing the boundaries of what could be shown on screen as audiences around the world reacted with shock and delight. No surprise then that sooner or later they'd get a movie that made them the hero. In F/X: Murder by Illusion, Rollie Tyler (Bryan Brown) is a special effects genius approached by the Department of Justice to fake the death of a gangster about to turn state's evidence. But all is not as it seems. Now someone is trying to kill Rollie, and grizzled cop Leo McCarthy (Brian Dennehy) suspects him of murder. Unable to turn to the police, Rollie goes on the run with only his wits and his special effects expertise to save him. F/X was a smash-hit and a sequel was inevitable. Under the auspices of ace Australian director Richard Franklin (Psycho II), F/X 2: The Deadly Art of Illusion sees Rollie convinced, against his better judgement, to once again use his expertise beyond the silver screen, this time helping to trap a murderer as part of an NYPD sting. When lightning strikes twice and things go wrong, Rollie, his girlfriend Kim (Rachel Ticotin) and her young son Chris are all plunged into danger; only with Leo's help can Rollie keep them safe. Beloved by a generation of movie fans and featuring two of the most charismatic character actors ever to grace the screen in Brown and Dennehy, F/X and F/X 2 are the kind of charming action-thrillers they just don't seem to be making anymore. Step back into a world of grande illusions! 2-DISC LIMITED EDITION CONTENTS ¢ High Definition (1080p) Blu-ray presentations of F/X and F/X 2 ¢ Original lossless stereo audio ¢ Optional English subtitles for the deaf and hard of hearing ¢ 60-page perfect bound collector's book featuring new writing by film critics Guy Adams, Clem Bastow, William Bibbiani and Priscilla Page ¢ Reversible sleeve featuring original and newly commissioned artwork by Nathanael Marsh ¢ Double-sided fold out poster featuring original and newly commissioned artwork by Nathanael Marsh ¢ Stickers for the films of Rollie Tyler DISC 1 - F/X: MURDER BY ILLUSION ¢ New commentary by film critic Mike White of the Projection Booth Podcast ¢ New commentary by Dan Martin of 13 Finger FX and filmmaker Jennifer Handorf ¢ The FX of F/X, a new interview with make-up effects supervisor Carl Fullerton ¢ F/X Illusions, a new visual essay by film critic Heather Wixson, author of Monsters, Make-up & Effects ¢ Murder by Illusion, an archive interview with director Robert Mandel ¢ The Making of F/X, an archive featurette ¢ Theatrical trailer ¢ Image gallery DISC 2 - F/X 2: THE DEADLY ART OF ILLUSION ¢ New commentary by Dan Martin of 13 Finger FX and filmmaker Jen Handorf ¢ Art & Illusion, a new interview with make-up effects supervisor Eric Allard ¢ F/X Magic, a new visual essay by film critic Heather Wixson, author of Monsters, Make-up & Effects ¢ The Australian Invasion, a new visual essay by film scholar Alexandra Heller-Nicholas ¢ The Making of F/X 2, an archive featurette ¢ Behind the Scenes ¢ Inside Eric Allard's Workshop ¢ Theatrical trailer ¢ Image gallery
Sam Peckinpah's classic road-movie based around the hit song by C.W. McCall. Long-distance trucker Rubber Duck (Kris Kristofferson) is on the run from corrupt sheriff Lyle Wallace (Ernest Borgnine). He makes a call on his CB radio asking for assistance from other truckers, many of whom have also fallen foul of Wallace in the past. What follows is a massive truckers' convoy, plenty of CB banter, and a whole lot of smashed-up police cars.
There is not a single joke, sight-gag or one-liner in Monty Python's Life of Brian that will not forever burn itself into the viewer's memory as being just as funny as it is possible to be, but--extraordinarily--almost every indestructibly hilarious scene also serves a dual purpose, making this one of the most consistently sustained film satires ever made. Like all great satire, the Pythons not only attack and vilify their targets (the bigotry and hypocrisy of organised religion and politics) supremely well, they also propose an alternative: be an individual, think for yourself, don't be led by others. "You've all got to work it out for yourselves", cries Brian in a key moment. "Yes, we've all got to work it our for ourselves", the crowd reply en masse. Two thousand years later, in a world still blighted by religious zealots, Brian's is still a lone voice crying in the wilderness. Aside from being a neat spoof on the Hollywood epic, it's also almost incidentally one of the most realistic on-screen depictions of the ancient world--instead of treating their characters as posturing historical stereotypes, the Pythons realised what no sword 'n' sandal epic ever has: that people are all the same, no matter what period of history they live in. People always have and always will bicker, lie, cheat, swear, conceal cowardice with bravado (like Reg, leader of the People's Front of Judea), abuse power (like Pontius Pilate), blindly follow the latest fads and giggle at silly things ("Biggus Dickus"). In the end, Life of Brian teaches us that the only way for a despairing individual to cope in a world of idiocy and hypocrisy is to always look on the bright side of life. On the DVD: Life of Brian returns to Region 2 DVD in a decent widescreen anamorphic print with Dolby 5.1 sound--neither are exactly revelatory, but at least it's an improvement on the previous release, which was, shockingly, pan & scan. The 50-minute BBC documentary, "The Pythons", was filmed mainly on location in 1979 and isn't especially remarkable or insightful (a new retrospective would have been appreciated). There are trailers for this movie, as well as Holy Grail plus three other non-Python movies. There's no commentary track, sadly. --Mark Walker
When Ridley Scott's cut of Blade Runner was finally released in 1993, one had to wonder why the studio hadn't done it right the first time--11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives.) The movie's spectacular futuristic vision of Los Angeles--a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"--is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runner one of the few science fiction pictures to legitimately claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M. Emmet Walsh. --Jim Emerson
The Tomorrow People available as a complete series for the first time in this limited edition set. Featuring all the episodes from the original series running from 1973 to 1979. Episodes comprise: 1. The Slaves of Jedikiah Part One 2. The Slaves of Jedikiah Part Two 3. The Slaves of Jedikiah Part Three 4. The Slaves of Jedikiah Part Four 5. The Slaves of Jedikiah Part Five 6. The Medusa Strain Part One 7. The Medusa Strain Part Two 8. The Medusa Stra
Frequently given short shrift as soft porn (which it is) and as mindless (which it isn't), director Adrian Lyne's follow-up to Flashdance (insert own joke here) is a thoughtful, smutty film about a bad sexual relationship. It follows the two-month affair between Elizabeth, an art-gallery dealer, and John, a Wall Street executive. The relationship spirals downward into raunchier sex (filmed, by the way, quite nicely) but principally is about two adults doing adult things but not acting anything like real adults. Attempts at actual human connection, about the longing to be "good", are present here and make this an above-average erotic film. Rourke is just honing his scumbag, bad-boy persona; but it doesn't overwhelm. At least there's lots and lots of Kim Basinger. --Keith Simanton, Amazon.com
When a group of cannibal savages kidnaps settlers from the small town of Bright Hope, an unlikely team of gunslingers, led by Sheriff Franklin Hunt (Kurt Russell), sets out to bring them home. But their enemy is more ruthless than anyone could have imagined, putting their mission and survival itself in serious jeopardy. Kurt Russell leads an all-star cast including Patrick Wilson, Matthew Fox and Richard Jenkins in this gritty, action-packed thriller chronicling a terrifying rescue mission in the Old West.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K [Ryan Gosling], unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard [Harrison Ford], a former LAPD blade runner who has been missing for 30 years.
The legendary story that hovers over Orson Welles' The Stranger is that he wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a war criminal to a sleepy New England town. The part went to Edward G. Robinson, who is marvellous, but it points out how many compromises Welles made on the film in an attempt to show Hollywood he could make a film on time, on budget and on their own terms. He accomplished all three, turning out a stylish if unambitious film noir thriller, his only Hollywood film to turn a profit on its original release. Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a New England prep school for boys and newly married to the headmaster's lovely if naive daughter (Loretta Young). Welles, the director, is in fine form for the opening sequences, casting a moody tension as agents shadow a twitchy low-level Nazi official skulking through South American ports and building up to dramatic crescendo as Kindler murders this little man, the lovely woods becoming a maelstrom of swirling leaves that expose the body he furiously tries to bury. The rest of the film is a well designed but conventional cat-and-mouse game featuring an eye-rolling performance by Welles and a thrilling conclusion played out in the dark clock tower that looms over the little village. --Sean Axmaker
Imagine if you could make anyone love you look more beautiful or punish your enemies just by casting a spell... Sarah is a a 17-year-old with a troubled past. Uprooted by her parents and moved to LA where she begins the final year at St. Benedict's Academy Sarah is a lonely stranger - until she meets a brigade of black lipstick and nails: Nancy Bonnie and Rochelle. These girls may never be in with the in-crowd - they're barely in with each other but recently they have bee
Director MARTIN SCORSESE's visual and aural masterpiece captures the heart soul and spirit of an entire generation. Arguably the best concert documentary ever this is the 1976 film account of the celebratory final concert of legendary group The Band at San Francisco's Winterland Ballroom. To make this an unforgettable farewell performance The Band's leader ROBBIE ROBERTSON called upon mentors friends and musical influences to join them on stage during a marathon concert that la
When an unannounced uninvited and unwelcome family of fun-loving misfits converge upon a lakeside resort to join their relatives for a summer of relaxation the result is anything but restful. It's a vacationer's worst nightmare as wheeler-dealer Aykroyd his sexually repressed wife and eerie twin daughters 'join' the easygoing Candy and his straight-laced clan for a season of 'fun' in the sun. Unfortunately the only thing these two in-laws have in common is their intense dislike for each other. Soon it's brother-in-law against brother-in-law in an uproarious and hilarious fight to the finish to see which one really knows how to enjoy 'The Great Outdoors'.
This is Blade Runner: The Final Cut Ridley Scott's definitive new version of his science-fiction masterpiece. Rick Deckard (Harrison Ford) prowls the steel-and-microchip jungle of 21st-century Los Angeles. He's a ""blade runner"" stalking geneticaly made criminal replicants. His assignment: kill them. Their crime: wanting to be human.
Nativity Rocks! returns to St Bernadette's Primary School as the staff and students work together to win the coveted prize of Christmas Town of the Year' by performing a spectacular rock music-themed nativity. Celia Imrie reprises her role as headmistress Mrs Keen, starring alongside a host of British talent including Simon Lipkin, Daniel Boys, Helen George, Hugh Dennis, Anna Chancellor, Ruth Jones, Meera Syal, Bradley Walsh and Craig Revel Horwood.
Michael Felgate (Hugh Grant), an elegant, debonair Englishman who runs an auction house in New York, is head-over-heels in love for the first time in his life.
Rick Deckard (Harrison Ford) prowls the steel-and-microchip jungle of 21st century Los Angeles. He's a blade runner stalking genetically made criminal replicants. His assignment: kill them. Their crime: wanting to be human. The story of Blade Runner is familiar to countless fans. But few have seen it like this. Because this is director Ridley Scott's own vision of his sci-fi classic. This new version omits Deckard's voiceover narration develops in slightly greater detail the romance between Deckard and Rachael (Sean Young) and removes the uplifting finale. The result is a heightened emotional impact: a great film made greater. Most intriguing of all is a newly included unicorn vision that suggests Deckard may be a replicant. Do Androids Dream of Electric Sheep? Is Deckard a replicant? As with all things in the future you must discover the answer to find yourself
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