Featuring 3 of the best movies from the master of the 80s teen movie John Hughes. Fans of the 'Brat Pack' need look no further! The Breakfast Club (1985): They only met once but it changed their lives forever. Without doubt John Hughes' The Breakfast Club is one of the greatest teen movies of all-time if not the best. They were five teenage students with nothing in common faced with spending a Saturday detention together in their High School librar
KING AND COUNTRY is a 1964 uncompromising WW1 drama, directed by Joseph Losey, featuring outstanding performances from Tom Courtenay (who won the 1964 Venice Film Festival Award for Best Actor) and Dirk Bogarde. During World War I, a young soldier, Hamp (Tom Courtenay) deserts his post, attempting to escape the ever-present sound of guns and walk back home. Captain Hargreaves (Dirk Bogarde) an aristocratic and British Army lawyer must defend Hamp before the army tribunal, for whom the crime of desertion carries a nasty stigma and the penalty of execution. Initially, Hargreaves approaches Hamp's case with disdain; however, upon learning that Hamp volunteered for duty on a dare, that he is the sole survivor of his unit and that his wife has been unfaithful in his absence, his efforts on Hamp's behalf become more impassioned and earnest.
Ealing Studios' output from the 1940s and the 1950s helped define what was arguably the golden age for British cinema. It fostered great directors such as Alexander MacKendrick and Robert Hamer, while giving stars such as Alec Guinness and Peter Sellers the chance to shine. John Mills stars as Captain Robert Scott in this film of the explorer's ill-fated expedition to be the first man to discover the South Pole. Directed by Charles Frend who went on to direct The Magnet, the film was nominated for both the Golden Lion in Venice and the BAFTA for Best British Film.
His Majesty was all powerfull and all knowing. But he wasn't quite all there. 1788 - King Goerge III (Nigel Hawthorne) is almost 30 years into his reign and is once again preparing for the Opening of Parliament. Queen Charlotte (Helen Mirren) skilfully divides her role as both devoted wife and mother to their 15 children. Yet, depite the apparent veneer of respectability, somthing is going sadle awry within the walls of Windsor Castle. The King's behaviour is becoming increaslingly irrational, hi is babbling ceaselessly, spewing obscenities and attacking the Queen's Mistress of Robes, Lady Pembroke (Amanda Donohoe). Has the King gone... mad? As the King's condition deteriorates, his son, the Prince of Wales (Rupert Everett) sets out to have his father declared unfit in order that he should be proclaimed Regent. The Queen is denied access to her husband and the King consequently becomes an isolated figure at the mercy of his own inept physicians. Not until he is persuaded to engage a new doctor, Dr Willis (Ian Holm) does the King show any signs of improvement. Yet the King's only true salvation relies on the support of the most potent of medicines - the Queen herself.
Meryl Streep, Julianne Moore and Nicole Kidman star in the story of three women searching for more potent, meaningful lives. Each is alive at a different time and place: all are linked by their yearnings and their fears.
The true story of how Charles Sobrajh, one of the most elusive & wanted criminals of the 20th century was caught & brought to trial. Psychopath, con man, master of disguise, he was the chief suspect in the unsolved murders of more than 20 young western travellers across India, Thailand & Nepals hippie trail' in the 1970's.
Based on the classic Henry Williamson book and set in the beautiful English countryside Tarka The Otter is the captivating story following the life of an otter. From Tarka's birth to his climactic confrontation with Deadlock the otterhound. Tarka's life is an unforgettable experience. Set in the 1920s when otter hunting was still legal in England Tarka must use his cunning and natural instincts to outwit not only man but man's best friend... Two years in the making Tarka The Otter is one of the best loved of all animal films. A delight for all ages.
A story about family, greed, religion, and oil, centered around a turn-of-the-century Texas prospector (Daniel Day-Lewis) in the early days of the business.
The Secretary of State for Social Affairs is having a meeting with Number Ten's Chief Political Advisor. There have been press rumours that the Minister is to be sacked. The Minister is told that none of these stories have come from Number Ten. However now they're out there Number Ten would look weak not to sack him. So he's sacked. His replacement as Minister for Social Affairs takes office. And so starts The Thick Of It featuring an ensemble of the best British comic actors improvising scripts from the sharpest British comedy writers.
Sweet Vengeance is an epic story of revenge set against the backdrop of the American Old West. Newlyweds Miguel (Eduardo Noriega - The Last Stand) and Sarah (January Jones - Mad Men X-Men: First Class) settle on a patch of land and soon encounter community preacher Prophet Josiah (Jason Isaacs - Harry Potter and the Deathly Hallows Parts 1 and 2). As Sheriff Jackson (Ed Harris - Man on a Ledge The Way Back) arrives in town Prophet Josiah launches a plot to take Sarah's land forcing her to defend her rights and launch an attack of vengeance that results in a jaw dropping showdown.
Leave Her to Heaven is one of the most unblinkingly perverse movies ever offered up as a prestige picture by a major studio in the golden age of Hollywood. Gene Tierney, whose lambent eyes, porcelain features, and sweep of healthy-American-girl hair customarily made her a 20th Century Fox icon of purity, scored an Oscar nomination playing a demonically obsessive daughter of privilege with her own monstrous notion of love. By the time she crosses eyebeams with popular novelist Cornel Wilde on a New Mexico-bound train, her jealous manipulations have driven her parents apart and her father to his grave. Well, no, not grave: Wilde soon gets to watch her gallop a glorious palomino across a red-rock horizon as she metronomically sows Dad's ashes to the winds. Mere screen moments later, she's jettisoned rising-politico fiancé Vincent Price and accepted a marriage proposal the besotted/bewildered Wilde hasn't quite made. Can the wrecking of his and several other lives be far behind? Not to mention a murder or two. Fox gave Ben Ames Williams's bestselling novel (probably just the sort of book Wilde's character writes) the Class-A treatment. Alfred Newman's tympani-heavy music score signals both grandeur and pervasive psychosis, while spectacular, dust-jacket-worthy locations and Oscar-destined Technicolor cinematography by Leon Shamroy ensure our fixed gaze. Impeccably directed by the veteran John M. Stahl (who'd made the original Back Street, Imitation of Life, and Magnificent Obsession a decade earlier), the result is at once cuckoo and hieratic, and weirdly mesmerizing. Bet Luis Buñuel loved it. --Richard T. Jameson
The story of three women who explore love and freedom in Southern California during the late 1970s.
Roundly dismissed as one of Steven Spielberg's least successful efforts, this very underrated film poignantly follows the World War II adventures of young Jim (a brilliant Christian Bale), caught in the throes of the fall of China. What if you once had everything and lost it all in an afternoon? What if you were only 12 years old at the time? Bale's transformation, from pampered British ruling-class child to an imprisoned, desperate, nearly feral boy, is nothing short of stunning. Also stunning are exceptional sets, cinematography and music (the last courtesy of John Williams) that enhance author J.G. Ballard's and screenwriter Tom Stoppard's depiction of another, less familiar casualty of war. In a time when competitors were releasing "comedic", derivative coming-of-age films, Empire of the Sun stands out as an epic in the classic David Lean sense--despite confusion or perceived competition with the equally excellent The Last Emperor (also released in 1987, and also a coming-of-age in a similar setting). It is also a remarkable testament to, yes, the human spirit. And despite its disappointing box-office returns, Empire of the Sun helped to further establish Spielberg as more than a commercial director and set the standard, tone and look for future efforts Schindler's List and Saving Private Ryan. --N.F. Mendoza
In October 1913 a group of aristocratic men and women gather for a shooting party at an estate in the heart of the British countryside. Assured and opulent they move through the elaborate rituals of an Edwardian England country house-party. They dine they shoot gossip flirt and are discreetly adulterous. As members of the privileged elite they practice an etiquette largely imposed by the late King Edward VII - anything goes just as long as it does not threaten the established order or offend accepted morality. But times are changing. The values that have ordered their glittering world will no longer have any meaning in the new age about to dawn.
Over the years, many film directors have attempted to tell the story of legendary 15th-century heroine Joan of Arc, a simple country girl who claimed she was inspired by God to lead the French troops in a victorious assault on the mighty English army. Luc Besson's 1999 epic might not be the best version of her life, but it's certainly the biggest. The movie cost a reported $60 million. Even if you are terminally unimpressed by the scale of such recent blockbusters as Gladiator, your eyes will pop out at the sheer number of bodies (living and dead) that Besson has assembled for the dynamic battle scenes. The lavish sets and costumes are almost equally gobsmacking, though neither will show to maximum advantage on the small screen. That's a pity because size is the only thing Joan of Arc really has going for it--as a human drama, it falls completely flat.The historical Joan was eventually made a saint by the Catholic Church, and earlier biopics tended to treat her celestial visions as literal fact. It was probably a mistake for Besson and his co-screenwriter Andrew Birkin to take a more psychological approach and present them as figments of her hysterical imagination. It makes it hard to work up the necessary empathy when the spectacle revolves around a confused and neurotic babe who couldn't organise a Tupperware party, let alone a vast military campaign. Milla Jovovich (the star of Besson's previous The Fifth Element and formerly his wife) doesn't help matters with her shrill and amateurish performance. But a couple of the supporting players are passably amusing--John Malkovich camps it up energetically as Charles, the dispossessed French king whom Joan reinstates, while Faye Dunaway wears outlandish headgear and carries on like a science-fiction creation in the role of his scheming mother-in-law. (The less said the better about Dustin Hoffman's pompous turn as Joan's personified conscience.) Besson keeps to the same glossy visual style even when the Maid is burning at the stake, but it isn't enough to prevent this empty shell of a movie from being a colossal yawn. --Peter Matthews
At fortysomething, straight-laced Cal Weaver is living the dream, good job, nice house, great kids and marriage to his high school sweetheart. But when Cal learns that his wife has cheated on him and wants a divorce, his 'perfect' life quickly unravels.
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