This remake of the popular heartwarming Christmas classic captures all the joy of the original version. A little girl who has been raised not to believe in fantasy fairy tales and Santa Claus meets a department-store Santa who claims he's the real Kris Kringle. Her mother insists that it can't be true--that Kris is only a nice old man who isn't all too sane. But soon things start happening that may make both of them change their minds... and have faith in magic once again.
Fifty years on, it's hard to appreciate just how shocking one key scene in The Blue Lamp was considered by British audiences. Young delinquent Tom Riley (played with sensuous malevolence by Dirk Bogarde) guns down kindly, benevolent copper, PC Dixon (Jack Warner.) In early 1950s Britain, murdering a policeman was the ultimate taboo. Even the underworld's denizens help the police flush Riley out. Made by Ealing Studios, The Blue Lamp is not a comedy but shares many of the studio's characteristic comic hallmarks, as well as the same writer (TEB Clarke) for their classics Hue And Cry and The Lavender Hill Mob. Consensus and tolerance are the watchwords. Individualism is frowned upon. There are no extravagant displays of emotion, not even from Mrs Dixon (Gladys Henson) when she learns what happened to her husband. The understatement is very moving, although by today's standards the representation of the police seems absurdly idealised. Were they ever the doughty, patient sorts depicted here? It is no surprise to learn that Scotland Yard co-operated in the making of the film but this is much more than just police propaganda. Well-crafted, full of finely judged character performances, it ranks with Ealing's best work. It was made at an intriguing historical moment: before rock and roll and the era of teenage affluence, there was simply no place for young tearaways like Tom Riley. --Geoffrey Macnab
""We are the mods we are the mods we are we are we are the mods!"" London 1964: two rival youth cults emerge - the mods and the rockers - with explosive consequences. For Jimmy (Phil Daniels) and his sharp-suited pill-popping scooter-riding mates being a mod is a way of life. It's their generation. Together they head off to Brighton for an orgy of drugs thrills and violent confrontation against the rockers. Jimmy never wants to stray from his maxim: ""I don't wanna be like everybody else that's why I'm a mod see?"" Will Jimmy emerge a hero or will he be disillusioned by his way of life?
Four-time Academy Award nominee Jeff Bridges stars as the richly comic, semi-tragic romantic anti-hero Bad Blake in the debut feature film Crazy Heart from writer-director Scott Cooper. In London cinemas from 19 February, nationwide from 5 March.
During the horrific violence of World War II lovers Villi and Colette are captured and sent to the infamous Auschwitz concentration camp. Determined to be together but housed in separate compounds they vow to risk their very lives in order to escape. Based on the novel by Pulitzer Prize winning author Arnot Lustig Colette tells the amazing true story of his experiences during WWII and his numerous escape attempts from the hell of Auschwitz. A harrowing and compelling true story set during one of the darkest periods in history.
Charlie Babbitt (Tom Cruise) expects a vast inheritance after his father dies. But the entire fortune is left to Raymond (Dustin Hoffman) his older brother, an 'autistic Savant' Charlie never even knew existed.
Based on an extraordinary true story, "Defiance" is the epic tale of family, honour, vengeance and salvation in World War II.
Keira Knightley and Matthew MacFadyen star in this adaptation of Jane Austen's classic novel.
Sebastian (Jean-Pierre Kalfon, Weekend) is staging an adaptation of Racine's tragedy, Andromaque while a film crew captures their rehearsals on handheld 16mm. The production's star and Sebastian's girlfriend, Claire (Bulle Ogier, Out 1), cannot take the pressure and removes herself. Life imitates art, creating a tragedy for the couple when Sebastian recasts the role with his ex. L'amour fou is a hypnotic study of tempestuous love, told with director Jacques Rivette's signature reflexivity and containing striking examinations of performance, art, theatre and life. A classic of the French New Wave and one of Rivette's most radical works, L'amour fou was unavailable for years, with the original elements tragically burned in a fire. Now meticulously restored, Radiance Films is proud to present this masterpiece from a new 4K restoration. In my opinionand I think it will be shared by manythis is one of the five or six best films of the New Wave. - François Truffaut L'amour fou is still my favourite film. - Bulle Ogier The work of a rebel, of an artist seeking to smash the codes and clichés of the normal' productions of the time. - Jean-Pierre Kalfon L'amour fou, is cinema without formal precedent. As with all great films, it feels like watching the birth of cinema, seeing the first ever film, and also the last. - André S. Labarthe A filmmaker sets up his camera and, above all, watches the actors, with no concern for characters or respect for a preestablished scenario. I'd like to draw inspiration from this. I'd like to grasp the personality of my actors and make cinéma vérité. - Bernardo Bertolucci L'amour Fou speaks to those who are madly in love with cinema. Jean De Baroncelli, Le Monde, 1969 One of Rivette's best films. Serge Daney, Libération, 1991 SPECIAL FEATURES 4K restoration from materials kept at Les Archives du Film and in Ãclair-Preservation, under the supervision of Caroline Champetier Uncompressed mono PCM audio A newly filmed feature-length documentary featuring new interviews with star Jean-Pierre Kalfon; writer/director and Rivette collaborator Pascal Bonitzer; Rivette biographer Antoine de Baecque; critic/historian Sylvie Pierre; and archival footage of Jacques Rivette (Robert Fischer, 2024, 95 mins) New interview with Caroline Champetier, renowned cinematographer and restoration supervisor (2024) The Third Eye - A video essay by film critics Cristina Ãlvarez López and Adrian Martin (2024) Newly translated English subtitles
Tony Kushner's prize-winning play Angels in America became the defining US theatrical event of the 1990s, an astonishing mix of philosophy, politics, and vibrant gay soap opera that summed up the Reagan era for an entire generation of theatre-goers. Post-9/11 would seem to be too late for a film version--philosophy and politics don't always age well--but this 2003 HBO adaptation, ably directed by Mike Nichols, provides a time capsule of the '80s and reveals the deep emotional subcurrents that will give the play lasting power. The story centers around Prior Walter (Justin Kirk) and Louis Ironson (Ben Shenkman), a gay couple that falls apart when Prior grows ill as a result of AIDS. But cancer is not the only thing invading Prior's life: He begins to have religious visions of an angel (Emma Thompson) announcing that he is a prophet. Louis, who doesn't cope well with disease and suggestions of mortality, leaves and starts a relationship with Joe Pitt (Patrick Wilson), a closeted Mormon who works for Roy Cohn (Al Pacino)--the real-life right-wing lawyer, notorious for his ruthless behind-the-scenes machinations. Add in Joe's depressed and hallucinating wife Harper (Mary Louise Parker), his determined but open-minded mother Hannah (Meryl Streep), a fierce drag queen/nurse named Belize (Jeffrey Wright, reprising his celebrated performance from the Broadway production), and you've still only begun to discover the wealth of characters and storylines in Kushner's ambitious work. The powerhouse cast (also featuring James Cromwell, Michael Gambon, and Simon Callow) is uniformly superb. The script has its weaknesses--some of the fantastic elements, including Prior's journey to Heaven towards the end, fall flat--but even what doesn't work is bristling with ideas and a ferocious desire to capture human existence in this time and place. --Bret Fetzer
A new dramatic series from the creators of The Killing. As seen on the BBC.Borgen is the latest drama sensation from the producers of the acclaimed series The Killing. Following the intricate and complicated lives of politicians, media spinners and the reporters who feed off their triumphs and failures, Borgen uncovers a world of political and personal intrigue.The setting is Borgen, the nickname for Denmark's Parliamentary building, otherwise known as The Castle. After scoring her party a landslide victory through her idealism and work ethic, the smart and sexy populist Birgitte Nyborg now faces the biggest dilemma of her life. The question is: Will she succumb to pressure of compromise on her ideals and face consequences both on and off the political stage?
BLACK AND BLUE is a fast-paced action thriller about a rookie cop (Academy Award® nominee Naomie Harris) who inadvertently captures the murder of a young drug dealer on her body cam. After realising that the murder was committed by corrupt cops, she teams up with the one person from her community who is willing to help her (Tyrese Gibson) as she tries to escape both the criminals out for revenge and the police who are desperate to destroy the incriminating footage.
Adapted from the multi award winning novel by Jonathan Trigell Boy A is a powerful coming-of-age drama that raises difficult questions about the morals of our times. Boy A is a fictional drama centred around a young man called Jack (Andrew Garfield). When he was young Jack was invloved in the murder of a child and as such has spent most of his youth in juvenile prisons. Released from prison into an unrecognizable adult world Jack is given a new name new job new home; a new life. But anonymity is both a blessing and a curse as Jack has to contend with not being able to tell the people he gets to know and love of his true past and the monstrous secret he must keep hidden.
Addiction, nonmonogamy, and female sexual liberation: decades before such ideas were widely discussed, DOROTHY ARZNER (Dance, Girl, Dance), the only woman to work as a director in 1930s Hollywood, brought them to the screen with striking frankness, sophistication, and wita mature treatment that stands out even in the pre-Code era. A Star Is Born's FREDRIC MARCH (in one of four collaborations with Arzner) and SYLVIA SIDNEY (Sabotage) turn in extraordinary performances as the urbane couple whose relationship is pushed to the breaking point by his alcoholism and wandering eyeleading them into an emotionally explosive experiment with an open marriage. Exposing the hypocrisies and petty cruelties simmering beneath the surface of high-society elegance, Merrily We Go to Hell is a scathing early feminist commentary on modern marriage. Special Features: New, restored 4K digital transfer, with uncompressed monaural soundtrack Dorothy Arzner: Longing for Women, a 1983 documentary by Katja Raganelli and Konrad Wickler New video essay by film historian Cari Beauchamp English subtitles for the deaf and hard of hearing PLUS: An essay by film scholar Judith Mayne
During a charity soccer match between top professional side Arsenal and touring amateur side Trojans the Trojan's new star player collapses. When he dies Inspector Slade of Scotland Yard is called in and declares it was murder. It takes all his ingenuity and another death before the motive is discovered and the killer revealed...
In the treacherous and swampy forests that make up the so called green border between Belarus and Poland, refugees from the Middle East and Africa trying to reach the European Union are trapped in a geopolitical crisis cynically engineered by Belarusian dictator Alexander Lukashenko. In an attempt to provoke Europe, refugees are lured to the border by propaganda promising easy passage to the EU. Pawns in this hidden war, the lives of Julia, a newly minted activist who has given up her comfortable life, Jan, a young border guard, and a Syrian family intertwine. 30 years after EUROPA EUROPA, three-time Oscar Nominee Agnieszka Holland's poignant new feature GREEN BORDER opens our eyes, speaks to the heart, and challenges us to reflect on the moral choices that fall to ordinary people every day.
The negroes fought gallantly and were headed by as brave a Colonel as ever lived", was one Confederate soldier's eyewitness verdict on the 54th Massachusetts Volunteers immediately after 247 of their 600-man regiment had fallen in bloody swathes beneath the withering fire from Fort Wagner near Charleston, South Carolina in 1863. Glory is their story: the mustering of the first black regiment in the US Army, their battles with the Southerners as well as with the Northern military authorities, and their own moment of glory when they paid a terrible price for the opportunity to demonstrate to the world their courage. In telling this little-known story, director Ed Zwick single-handedly changed perceptions of the American Civil War: when a Grand Review of the Armies was held in Washington at the end of the war, none of the almost 180,000 coloured troops who fought for the Union were present; when that parade was restaged in 1990 a year after the movie was released, the 54th Massachusetts re-enactors were at the front of the procession. Zwick's stirring, factually accurate account is greatly enhanced by obsessive period detail and frighteningly realistic battle reconstructions (which were not to be surpassed in scale until 1993's Gettysburg). But Zwick also illuminates individual characters in the regiment with great sensitivity. As crucial as the military set-pieces are the scenes of the men together: talking in the tent or baring their souls in song. Denzel Washington, as the embittered ex-slave, gives a performance of real depth; he richly deserved his Oscar win for the heartbreaking flogging scene alone. Morgan Freeman brings great gravitas to his paternalistic role, and Matthew Broderick's idealistic Colonel Shaw is the centre around which the story revolves. With a clutch of remarkable lead performances, a sensitive and touching script, one of James Horner's finest musical scores, and a director with both the vision and heart to pull it off it's easy to agree with the backcover blurb: "Glory is one of the greatest war movies ever made". Without even a hint of hyperbole, it undoubtedly is. On the DVD: This is a superb looking (anamorphic) and sounding (Dolby 5.1) print, and the disc has some excellent additional features. Ed Zwick's commentary is insightful and extremely detailed: here's a director who obviously cares deeply about this movie. Of the three featurettes, one is a short-ish promo piece but the other two are genuinely impressive: there's a 20-minute "Making of" feature with major contributions from Zwick, Freeman and Broderick, and best of all a 45-minute "The True Story Continues" feature narrated by Freeman which tells the complete story of the 54th Massachusetts from beginning to end using footage from the movie as well as archive material and film of battle re-enactments. Also included are two deleted scenes, although a third scene which was shot for the movie but not used (the Frederick Douglass' speech) crops up in the "True Story" piece. James Horner's emotive score gets an isolated track all to itself and there are also some filmographies and trailers. All in all, this is a superb DVD. --Mark Walker
A company president gets framed with a food-poisoning scandal and the only person who can help him is the evening cleaning-woman who always seems to be in the right place at the right time.
The story of Bettie Page, one of the first sex icons in America and the target of a Senate investigation.
Premier ballet dancer Rudolph Nureyev makes his acting debut in this lavish story of the life of the famous silent screen actor Rudolph Valentino who caused female moviegoers to riot in the streets upon his death. Controversial director Ken Russell lavishly recreates the glitzy and decadent atmosphere of the roaring 20's and the presence of Nureyev as Valentino imbues the film with passion rarely found in Hollywood.
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