Show Aikawa is back as the superhero like no other in maverick director Takashi Miike (Audition, One Missed Call) and screenwriter Kankuro Kudo's (Go, Ping Pong) subversive and darkly satirical sequel to their 2004 homage to the golden era of Japan's tokusatsu TV shows. It's 2025, and our hero Shinichi finds himself waking up minus memory, zebra stripes and zebra powers in an authoritarian dystopian future. Tokyo has been taken over by a sinister ultra right-wing governor named Kozo, who has reconstructed and rechristened the capital as Zebra City and mandated a twice-daily five-minute purge called Zebra Time in which all crime is legal and his Zebra Police readily pitch themselves into the resulting free-for-all. It's a society dominated by screens, and the screens dominated by a sultry pop diva named Zebra Queen, who just happens to be Kozo's daughter. Can Shinichi regain his Zebraman powers to thwart the Kozo and the Zebra Queen's plans to export their dark vision across the world? HIGH-DEFINITION BLU-RAY PRESENTATION IN 1.85:1 ASPECT RATIO ORIGINAL JAPANESE STEREO AND 5.1 SURROUND SOUND AUDIO TRACKS AUDIO COMMENTARY BY JOE HICKINBOTTOM BRAND NEW FILMED INTRODUCTION BY TOM MES ZEBRAMAN 2: ATTACK ON ZEBRA CITY MAKING OF DOCUMENTARY INTERVIEW WITH DIRECTOR TAKASHI MIIKE INTERVIEW WITH RIKI ABE INTERVIEW WITH SHOW AIKAWA INTERVIEW WITH MASAHIRO INOUE INTERVIEW WITH RIISA NAKA ORIGINAL THEATRICAL TRAILERS AND TV SPOTS STILLS GALLERY BOOKLET ESSAY BY JONATHAN WROOT ORIGINAL AND NEWLY COMMISSIONED ARTWORK BY LUCAS PEVERILL
Look Who's Talking: If you've always wanted to know what a baby thinks of the world around him, you finally have your chance. With Bruce Willis supplying the voice of Mikey's thoughts, this is one baby who says exactly what's on his mind. Mollie (Kirstie Alley) is a single working mother who's out to find the perfect father for her child. Her baby, Mikey, prefers James (John Travolta), a cab driver turned babysitter who has what it takes to make them both happy. But Mollie won't even consider James. It's going to take all the tricks a baby can think of to bring them together before it's too late. Look Who's Talking Too: John Travolta and Kirstie Alley return in this charming sequel to the S100 million box-office smash. Also starring the voices of Bruce Willis as Mikey, Rosanne Barr as his new baby sister and Mel Brooks as the voice of Mr. Toilet Man. Look Who's Talking Now: Now that the kids finally know how to talk, this family is going to the dogs! Thanks to the unique voice talents of Danny DeVito and Diane Keaton as two canine comedians determined to turn the household upside down, LOOK WHO'S TALKING NOW is as fresh and funny as the original. John Travolta and Kirstie Alley return as the fun-loving parents whose marriage is put to the test when she loses a job and he finds one with a female boss who shows an over-active interest in merging. Loaded with one-liners and enough humour for kids and adults alike, LOOK WHO'S TALKING NOW proves that when it comes to comedy, it's a dog's life!
Japan's legendary King of Cult Teruo Ishii (Horrors of Malformed Men, Shogun's Joy of Torture) delivers four dramatized tales of real-life crimes of passion involving women across the ages in this grotesque anthology featuring the stories of the Hotel Nihonkaku Murders, the notorious poison wife and last woman in Japan to be executed by beheading, Oden Takahashi, the brutal serial killer Yoshio Kodaira and the story of Sada Abe, the infamous castratice featured in Nagisa Oshima's In the Realm of the Senses. 88 Films is proud to present this unflinching look at female pathology drawn from Japan's criminal casebooks for the very first time outside Japan.
Of Flesh and Blood: The Cinema of Hirokazu Kore-eda (Blu-ray) Directed by Hirokazu Kore-eda This new Blu-ray collection combines four career-defining titles by Palme d'Or winning director Hirokazu Kore-eda one of Japanese cinema's most celebrated auteurs. The set features his austerely beautiful debut Maborosi and lyrical fantasy After Life, alongside Nobody Knows and Still Walking, films that cemented Kore-eda's reputation as an heir to Ozu and a chronicler of the modern Japanese family. Available on Blu-ray for the very first time in the UK, the four films included in Of Flesh and Blood: The Cinema of Hirokazu Kore-eda celebrate the richness, diversity, beauty and humanity of the director's work and essential viewing for fans of contemporary world cinema. Special features: Q&A with Hirokazu Kore-eda (2019): a newly filmed interview with the director, recorded at the BFI Southbank during its major retrospective of his work New feature-length audio commentary on Maborosi by Jasper Sharp New feature-length audio commentary on After Life by Tara Judah New feature-length audio commentary on Nobody Knows by Kenta McGrath New feature-length audio commentary on Still Walking by Alexander Jacoby Maborosi trailer (2019) Fully illustrated booklet with new writing on the films and full film credits Other extras TBC
This Blu-ray collection combines four career-defining titles by Palme d'Or winning director Hirokazu Koreeda one of Japanese cinema's most celebrated auteurs. The set features his austerely beautiful debut Maborosi and lyrical fantasy After Life, alongside Nobody Knows and Still Walking, films that cemented Koreeda's reputation as an heir to Ozu and a chronicler of the modern Japanese family. Available on Blu-ray, the four films included in Of Flesh and Blood: The Cinema of Hirokazu Koreeda celebrate the richness, diversity, beauty and humanity of the director's work and essential viewing for fans of contemporary world cinema.
This cute, 1989 comedy directed by Amy Heckerling (Fast Times at Ridgemont High) helped keep John Travolta busy during some fallow years and extended America's then-love affair with Bruce Willis, whose voice is the only part of him that appears. Kirstie Alley costars as an unwed mother in search of a suitable man to become her baby's father. Travolta is a cab driver who doesn't match her ideal, but he gets involved anyway. Half the fun comes from Willis's risible reading of the newborn's thoughts. Look Who's Talking was followed by two lesser sequels, Look Who's Talking Too and Look Who's Talking Now. --Tom Keogh
Despite making many other distinguished films in his long, wandering career, Francis Ford Coppola will always be known as the man who directed The Godfather trilogy, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are an Italian-American Shakespearian cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce Reid, Amazon.com On the DVD: Contained in a tasteful slipcase, the three movies come individually packaged, with the second instalment spread across two discs. The anamorphic transfers are acceptable without being spectacular, with Part 3 looking best of all. Francis Ford Coppola--obviously a DVD fan--provides an exhaustive and enthusiastic commentary for all three movies, although awkwardly these have to be accessed from the Set Up menu. The fifth bonus disc is a real goldmine: the major feature is a 70-minute documentary covering all three productions, which includes fascinating early screen-test footage. There's also a 1971 making-of featurette about the first instalment, plus several shorter pieces with Coppola, Mario Puzo and others talking about specific aspects of the series, including a treasurable recording of composer Nino Rota performing the famous theme. Another section contains all the Oscar-acceptance speeches and Coppola's introduction to the TV edit, plus a whole raft of additional scenes that were inserted in the 1977 re-edited version. Text pieces include a chronology, a Corleone family tree and biographies of cast and crew. Overall, this is a handsome and valuable package that does justice to these wonderful movies. --Mark Walker
Dai Miyamoto's life changes when he discovers jazz. He picks up a tenor saxophone and practices every day. After leaving his hometown, Sendai, he pursues a music career in Tokyo with help from his friend Shunji. One day, Dai plays passionately from the heart and convinces talented pianist Yukinori to start a band together. Along with Shunji, a beginner drummer, they form the three-piece band, JASS. With each live performance, they get closer and closer to their dream of playing at So Blue, the most famous jazz club in Japan, in hopes of forever changing the world of jazz.Based on the manga by Shinichi Ishizuka, Blue Giant from Yuzuru Tachikawa is a moving ode to the power of jazz with original music by HIROMI.
Ealing Studios comedy set in the Scottish isles. Hollywood's Paul Douglas plays Marshall, an American businessman who becomes involved with The Maggie, a rundown old shipping vessel captained by the taciturn skipper (Alex Mackenzie), when he is trying to find a way to convey his luggage to a remote island. It doesn't take Marshall long to realise that the skipper and his crew have pulled a fast one on him - but what can he do to stop them?
Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh
Chocolate (2008)
Japan, 1941: With war raging in Europe, Japan's imperial command sees an opportunity to advance their nation's standing in the world.The plan to attack Pearl Harbor was drawn up, and one man was tasked with its implementation: Admiral Yamamoto. Opposed to the plan, Yamamoto must nevertheless carry out his orders and commit one of the biggest military mistakes in history.The Admiral is a $10.5 million budgeted, action packed masterpiece that explores one man's, and by reflection one nation's, turmoil: what must be sacrificed for country and for duty.
The Yokoyama family come together to celebrate the memory of their youngest son Junpei who died fifteen years ago while rescuing a boy from drowning. Over the course of one summer day we follow the family bound together by love as well as resentments and secrets as new relatives become acquainted old stories are retold food prepared and an elegant graveside ritual takes place. It is with warmth and gentle humour that we follow the complex dynamics between the equally annoying lovely and precious characters of the Yokoyama family all masterfully drawn by Kore-Eda.
Compiled from McCartney's two concert tours of North America in 2002, Back in the U.S. is chiefly a "selective" biographical film of Macca on tour. Unlike the CD of the same name, which is made up of full-length versions of the songs performed on the tour, the DVD features only excerpts. Presenting the legend and those around it in a somewhat superficial light, the film is as much a tribute to the Heather-reinvigorated McCartney as to his music. There's plenty of footage of the new Mrs McCartney accompanying Paul on his marathon of television and radio interviews; band and crew members pipe on about how much of an honour it is to work with McCartney; and fans' of all ages gush hysterically about how amazing it is to see the star perform live. After sitting through three hours of such material, you can't help wishing that something would go wrong. The set-list includes Beatles favourites, tunes by Wings and selected numbers from McCartney's solo back catalogue. Realising the audience's obvious taste for nostalgia, the film mixes shots of the wild contemporary audience with footage of tearful, screaming fans from 40 years earlier. While the songs and audience reactions remain the same, the most touching moment of the film is when Macca performs his tributes to Lennon ("Here Today") and Harrison ("Something"). On The DVD: Back in the U.S. appears to break all DVD capacity records. As well as the main feature, there's plenty of extra behind-the-scenes material and bonus songs. While the picture quality is satisfactory, the three audio soundtracks (including DTS Surround) more than compensate for any visual shortcomings. Playing the disc on a DVD-ROM drive allows access to a secret Back In The U.S. Web site--one of the most comprehensive bonus Web sites ever. Highlights include additional soundcheck clips, outtakes, music promos and extended performances from the show. --John Galilee
Jamie Demetriou (Fleabag, Paddington 2) is Stath an incompetent Greek-Cypriot lettings agent, working in the family business, Michael & Eagle Lettings. Set in North London, new comedy STATH LETS FLATS follows Stath's painfully funny attempts to prove himself to his father, and take over as manager, despite being rubbish at his job. Stath's hapless sister Sophie, played by Natasia Demetriou, isn't interested in letting flats she dreams of being a professional dancer, but holds a candle for the family's favourite employee, nervous negotiator Al. While Stath strives to outdo Michael & Eagle's top agent Carole, the company struggles against the threat of Smethwicks' the slick estate agents chain that have moved on to their patch.
On 11 March 2011 Japan's Tohoku coastal region was destroyed by a 9.0 magnitude earthquake and devastating tsunami that followed. Pray for Japan takes place in the devastated region of Ishinomaki Miyagi - the largest coastal city in Tohoku with a population of over 160 000 people. Pray for Japan focuses on four key perspectives of the tragedy. With each perspective we meet victims who faced significant obstacles and fought to overcome them. Through these four vantage points the audience is able to understand the vast ramifications of this large-scale natural disaster.
In 1972 Misaki suddenly passed away. The student's death was so unexpected that the classmates and teacher had decided to pretend the incident never happened allowing for Misaki to continue attending class and graduate with them. But in doing so they had unwittingly set a curse upon the school. 26 years later Kouichi Sakakibara transferred into the very same class and it is clear something is amiss. A tense atmosphere has engulfed them and the answer may lie in the hands of an aloof classmate who no one appears to be aware of.
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