Upon their father s passing Elias (Mads Mikkelsen) and Gabriel (David Dencik) are shocked to find out that they are adopted. Despite their differences and dislike for one another, Elias and Gabriel grudgingly decide to seek out their natural father and set out to the remote island where he lives. Meanwhile, a surprise awaits Elias and Gabriel there. Surrounded by the island s many odd personalities, Elias and Gabriel discover a most paralysing, yet liberating truth about themselves and their family.
A young writer tries to impress a girl he meets online with an embellished profile, but he finds himself in a real mess when she falls for him and he has to keep up the act.
Return to the disco days of the 1980s in this exclusive collection, featuring ALL NEW ARTWORK that celebrates Generation X's neon dream decade, and the movies that defined it. One of the top-grossing box office comedies of all time! Steven Spielberg presents an irresistible comic fantasy that accelerates beyond the time barrier with wit, imagination and infectious, wide-eyed wonder. Michael J. Fox stars as Marty McFly, a typical American teenager of the Eighties accidentally sent back to 1955 in a plutonium-powered DeLorean time machine invented by mad scientist Christopher Lloyd. During his hysterical, amazing trip back in time, Marty must make certain his teenage parents-to-be, Crispin Glover and Lea Thompson, meet and fall in love - so he can get back to the future. Directed by Robert Zemeckis, this delightful comedy-adventure will make everyone want to go Back to the Future over and over again. BONUS FEATURES: 'Tales from the Future' Documentary The Making of Back to the Future Michael J. Fox Q&A Behind the Scenes Including Outtakes & Deleted Scenes Setups & Payoffs Storyboard Comparison Trivia Pack
Recorded live at London's Hammersmith Apollo in 1998, The Fast Show Live features all of the original cast of the highly successful sketch series (Caroline Aherne excepted) including Paul Whitehouse, Simon Day, Charlie Higson and Arabella Weir and practically all of their myriad characters and catchphrases. This live show effectively marks a last hurrah for The Fast Show team, with routines like the Coughing Bob Fleming singalong reworked from the series. However, as a feat of inventive stage management and quick costume changing, they do manage to maintain the Fastness of the TV series live. It was the catchphrases which earned the series its immense popularity and they raise large, predictable cheers of recognition when wheeled out at the Apollo, from Unlucky Alf's opening "Oh, bugger!" to the "Suits you, sir!" of the intrusively camp boys in the menswear department. The show's reliance on these might have been annoying if it weren't for the fact that they were built on such esoteric, peripheral and complex sketch and character material. Who but the Fast Show team would have thought of taking the mickey out of bad European TV, even inventing their own mock-Esperanto to do so? Or similarly, lampooned all those old 1930s music hall comedians whose risque jokes are incomprehensible to modern audiences? These, mixed in with modern archetypes like Ron Manager or the endlessly poignant Ted and Ralph made The Fast Show at once comfortingly familiar yet endlessly surprising viewing. They were influential also: Colin Hunt is surely a crude prototype for The Office's David Brent. On the DVD The Fast Show Live has no special features on this edition, disappointingly. --David Stubbs
Celebrating all forms of madness and mayhem the entire Jackass crew - including Johnny Knoxville Bam Margera Steve-O Chris Pontius Preston Lacy and Jason Wee Man Acuna - returns for more side-splitting lunacy and cringe-inducing stunts. From wild animal face-offs with a crazed bull to pitiless practical jokes - high-five anyone? - you can guarantee logic-defying acts pain and suffering as Jackass 3 reaches new heights in the pursuit of the inventively insane.
MELODY CLUB (1949) 63 mins Black & White. A Tempean Films production with cinematography by Peter Newbrook. Terry-Thomas stars in one of his earliest starring roles as a nitwit detective on the trail of a gang of jewel thieves. He traces them to a nightclub and ultimately more by luck than judgement rounds them up.
A compelling and definitive portrait of the man and his life. 'The Peter Sellers Story' As He Filmed It' was re-cut from the original 1995 BAFTA-nominated 'Arena' documentary transmitted in 2002 on BBC2. Using a unique collection of his own home movies shot between 1948 and 1977 and discovered years after his death this film presents an intriguing and intimate portrait of Peter Sellers. Told in his own words and including many well-known personalities from Stanley Ku
In City Slickers three middle-age buddies (Billy Crystal, Daniel Stern, Bruno Kirby) facing personal crises decide to sign up for a two-week cattle run for a change of pace. The trail proves a tougher place than anyone thought, and the boss (Jack Palance) is a grizzled taskmaster who doesn't cotton to tenderfoot urbanites. The film is both funny and moving, with Crystal giving one of his most complete performances and Palance (who won a Best Supporting Actor Oscar) a lot of colourful fun. Director Ron Underwood (Heart and Souls) subtly shifts the tone of the film from broad comedy to poignancy over its running time, and he makes the story's end a bittersweet victory that feels like life as most people know it. --Tom Keogh, Amazon.com
After serving time for murder Josh Hutton returns to his home town where me meets Audry Hugo. No one can remember exactly what Josh did and so as the town gossips tales of Josh's part spiral out of control!
The story of a Las Vegas showgirl whose lack of sophistication worries her boyfriend. He fears her ignorance will ruin his business opportunities. He hires an intelligent journalist to educate her in the ways of the world but she soon learns there is more to life than mink coats and diamond rings.
Writer-director Tom McCarthy excels at tales about men who feel isolated from their surroundings. In Win Win, it's Kyle (Alex Shaffer, recalling the young Sean Penn), a teenager who enters the life of New Jersey attorney Mike Flaherty (Paul Giamatti). Flaherty's journey begins when he represents Kyle's grandfather, Leo (Burt Young), who suffers from dementia. When Flaherty finds out about the substantial fee, he signs up as Leo's guardian, because he's been having trouble paying his bills. He and his wife, Jackie (Amy Ryan), meet Kyle when the kid shows up on his grandfather's doorstep. Kyle's mother (Melanie Lynskey) is in rehab and her boyfriend is abusive, so Kyle wants to live with Leo. Because Mike placed him in a retirement home--against the man's wishes--he agrees to host Kyle for a few weeks, during which Mike learns about his wrestling skills and invites him to join the high-school team he coaches with Stephen (Jeffrey Tambor). His best friend, Terry (Bobby Cannavale), offers to assist the duo to get his mind off his ex (the one plot line that doesn't work). When Kyle's mother shows up to collect her son and cash in on her father's situation, Mike risks losing everything he has gained. Win Win doesn't surprise as much as The Station Agent, which featured Cannavale, or cut as deep as The Visitor, but Giamatti and Ryan make for a believable suburban couple, doing their best to make ends meet in the face of an unsympathetic economy. --Kathleen C. Fennessy
Sonny Wexler (Burt Reynolds) a classic Hollywood producer dreaming of the respect he commanded in the past and hoping for one more shot at the big time is hanging on to the threads of his career. His last chance for glory is a script optioned from a hungry young writer (Sean Astin). Sonny feels a renewed passion about this script and a personal connection with the material. So when the writer tells Sonny he has made a deal with a hot young studio executive Damon Black (Benjamin Bratt) cutting the older man out Sonny is enraged. He vows to exercise his option before it expires in seventy two hours.
The film that brought Jacques Tati international acclaim also launched his on-screen alter ego: the courteous well-meaning eternally accident prone Monsieur Hulot with whom Tati would from now on be inseparably associated. As with Jour de f''te the film is set in a sleepy French coastal resort which is seasonally disrupted by holidaymakers in energetic pursuit of fun. At the centre of the chaos is the eccentric Hulot struggling at all times to maintain appearances but somehow entirely divorced from his immediate surroundings. There is little plot in Tati's beautifully orchestrated 'ballet' of comic action: it's a series of incidents a seamless succession of gently mocking studies of human absurdity.
Lover Come Back: Jerry Webster (Hudson) and Carol Templeton (Day) are rival Madison Avenue advertising executives who each dislike each other's methods. After he steals a client out from under her cute little nose revenge prompts her to infiltrate his secret VIP campaign in order to persuade the mystery product's scientist to switch to her firm. Trouble is the product is phony and the scientist is Jerry who uses all his intelligence and charm to steal her heart! (Dir. Delbert Mann 1961) Pillow Talk: Day is an uptight interior decorator forced to share a party line with an amorous playboy who ties up the line with his exploits while she is trying to conduct business. When the two accidentally meet he's taken with her beauty and pretending to be a wealthy Texan begins to court her mercilessly. Though flattered by this stranger's attention it's not long before she discovers his true identity. Now it's her turn to have a little fun...at his expense! (Dir. Michael Gordon 1959) Send Me No Flowers: Rock is ready to make love yesterday tomorrow and especially to Day (Doris that is!) When he overhears a doctor discussing the imminent death of a patient hypochondriac George (Hudson) believes the doc is referring to him. Convinced he's living on borrowed time George enlists the aid of his best friend Arnold (Randall) to find a new husband for his soon-to-be-widowed wife Judy (Day). Already alarmed by her husband's increasingly strange behavior Judy is even more bewildered when an old flame shows up George bends over backwards to encourage his advances! (Dir. Norman Jewison 1964)
In this campy classic musical tribute to the rock legends the Ramones the students of Vince Lombardi High School are a wild and rebellious bunch who are sick of sitting in school - they want to go see the Ramones in concert. Riff Randall the leader of the frisky students writes the song Rock 'N' Roll High School and leads a brigade of her peers to a Ramones concert. However when a fierce new principal cracks the whip and attempts to silence the rock music by burning stacks of the students' records a riot breaks out. The Ramones arrive at school and join forces with the students to take over the school and in a glorious victory burn it down. The terrific soundtrack includes such Ramones favorites as Blitzkrieg Bop Pinhead and Teenage Lobotomy in addition to the title track.
Two Weeks Notice Attorney Lucy Kelson wants to save the world. Instead she's choosing ties and interviewing prospective girlfriends for her handsome and hapless billionaire boss George Wade. Is this why she got a Harvard Law degree? Lucy's fed up so she submits her notice. But Wade - with an assist from Cupid - has other plans. Something's Gotta Give Harry Sanborn (Jack Nicholson) is a perennial playboy with a libido much younger than his years. During a romantic weekend with his latest infatuation Marin (Amanda Peet) at her mother's Hamptons beach house Harry develops chest pains. He winds up being nursed by Marin's reluctant mother Erica Barry (Diane Keaton) a successful divorced New York playwright. In the process Harry develops more heart pangs - the romantic kind - for Erica a woman appropriately the same age whom he finds beguiling. Yet when Harry hesitates his charming thirtysomething doctor (Keanu Reeves) steps in and starts to pursue Erica. Harry who has always had the world on a string finds his life unraveling... What Women Want Meet Nick Marshall (Mel Gibson). A successful advertising executive Nick has the world and its women at his fingertips. Or so he thinks. The world of advertising is fast becoming a woman's world and slick-talking chauvinistic womanising Nick is out of touch. Enter Darcy McGuire (Helen Hunt). Darcy is hired by the agency as Nick's superior to bring a woman's perspective to the agency in a bid to win new clients from the untapped female market. But Nick's problems are just beginning. To his dismay a freak accident allows him to hear the thoughts of all the women around him. After consulting a psychiatrist (Bette Midler) he decides to use his newfound ability to his advantage both professionally and personally. However Darcy McGuire is no pushover and romance inevitably gets in the way.
What Planet Are You From? stars Garry Shandling whose hilarious TV series The Larry Sanders Show offered him a great vehicle to show his comic performance abilities; you could scarcely tell the difference between his smile and his grimace--he always looked as if Hollywood was giving him a bad case of gas. However in this shockingly unfunny film, which Shandling co-wrote, one can only imagine that the other writers severely diluted Shandling's original intentions--the wince, his only expression, seems real. Worse, you'll share his dismay. Shandling stars as an alien from a sterile race of clones who is sent to Earth to procreate with an Earth woman--exactly why this is necessary is left fuzzy. Ostensibly, given the title, this should lead to a raucous satire of dating mores. Instead, our space invader quickly takes up with a recovering alcoholic played by Annette Bening, and we chart their stridently bumpy but predictable relationship. Greg Kinnear co-stars as a slimy co-worker; Linda Fiorentino plays Kinnear's man-eating wife; John Goodman portrays an FAA official who's onto Shandling's secret; and Ben Kingsley appears as the humourless leader of the alien planet. The single recurring joke involves the alien's genitalia and its propensity, when excited, to buzz loudly, which it does at least 10 or 15 times--afterit ceases to be remotely amusing. Shandling plays his character as so stunningly obtuse that whenever he manages a genuinely clever line it practically seems out of character; the rest of the talented cast flounders, similarly lost. Director Mike Nichols has staged painfully awkward scenes with Elan in the (distant) past--think The Graduate or Carnal Knowledge--but What Planet Are You From? simply sits there, flailing desperately, seemingly aware of its own crushing tedium. Large chunks of the film appear to have been left on the editing room floor; it's hard to imagine material even more comically futile than what appears onscreen. --David Kronke, Amazon.com
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
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