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!
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
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
A reindeer doesn't have to fly to be magical to someone, and Prancer proves the point in an unassuming and plainspoken way. This 1989 family film stars Rebecca Harrell as nine-year-old Jessica, a motherless schoolgirl raised (and largely ignored) by her bereaved and embittered father (Sam Elliot), an apple farmer. While Jessica's dad struggles to keep food on the family table, the little heroine worries over the fate of a wounded reindeer she meets and wistfully identifies as a member of Santa's sled crew. The story may sound overly precious, but the film is grittier and more realistic than that. Far more concerned with wobbly family relationships than gilded escapism, Prancer is a rare family film that can entertain without invoking fluffy enchantment. It was followed 12 years later by a sequel, Prancer Returns. --Tom Keogh
Look Who's Talking: Starring Kirstie Alley John Travolta and the wise-cracking voice of Bruce Willis Look Who's Talking is the box-office smash which takes an hilarious off-beat look at motherhood and romance from baby Mikey's point of view. Led on and let down by boyfriend Albert (George Segal) 32 year old Mollie (Kirstie Alley) is looking for a proper father for her son. Little Mikey favours cab driver-turned-baby-sitter James (John Travolta). It's a case of baby knows be
A modern Italian-American reworking of William Shakespeare's 'Romeo and Juliet' set in the Bronx.
A blaxploitation film with a heavy dose of Voodoo Zombies! When her boyfriend is brutally murdered Sugar Hill (Marki Bey) refuses to be shaken down by the local gangsters running their protection racket and decides not to get mad but bad! Calling upon the help of aged voodoo queen Mama Maitresse Sugar entreats her to call upon Baron Zamedi the Lord of the Dead for help in gaining a gruesome revenge...
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