This is the first time that all episodes of writer-producer-director David Chase's extraordinary US television series The Sopranos have been brought together in one box set which is a seminal event for any fan of the series. The Sopranos is nominally an urban gangster drama but its true impact strikes closer to home chronicling a dysfunctional suburban family in bold relief. And for protagonist Tony Soprano (James Gandolfini) there's the added complexity posed by heading twin families his collegial mob clan and his own nouveau riche brood.
This likeable, feminist screwball comedy about several incidents of mistaken identity is remembered more as the film that made Madonna a movie star. She's flip, hip and energetic as Susan, the wild tramp with whom bored, suburban New Jersey housewife Roberta Glass (Rosanna Arquette) becomes obsessed after reading of her sexual conquests in the personal ads. Of course, since Madonna essentially played herself, the role's hardly a stretch. Director Susan Seidelmen presents a series of zany incidents too complicated to recount, but the result is that Roberta swaps lifestyles with her fixation to explore New Wave culture on New York's Lower East Side. It's territory Seidelmen knew well as her more offbeat, indie debut, Smithereens, revelled in the same setting. But where Smithereens took a more edgy approach to its characters, Susan is a fairy tale romantic comedy, and eventually becomes as conventional as the suburban characters it mocks by settling conflicts with predictable Hollywood formulae. Still, there's much to be enjoyed. The film's at its funniest when juxtaposing New York hip and New Jersey suburbia, like when Arquette's straight, suit-and-tie husband dances with Madonna in a punk club. The performances, too, are engaging, especially Arquette and Aidan Quinn, playing a romantic film projectionist who becomes her grubby Prince Charming. --Dave McCoy, Amazon.com --This text refers to the VHS edition of this video
Renny Harlin's first feature since The Long Kiss Goodnight reinvents the rampaging shark movie for the digital age. Echoing Alien and Deep Rising, a typically motley crew is trapped and terrorised in a remote ocean research station incapacitated by storms. Saffron Burrows' scientist has devised a means of using shark brain-tissue to fight Alzheimer's Disease, but it has the unfortunate side effect of increasing by fivefold the intelligence of the station's three test sharks. Once the sharks escape captivity, their captors become prey and Burrows, along with Thomas Jane's diver and corporate sponsor Samuel L. Jackson, are pursued through the station's maze of corridors. LL Cool J also appears as the most unlikely action-movie chef since Steven Seagal in Under Siege, chanting Biblical passages to his pet parrot and choosing the perfect omelette recipe as his message for posterity.As the bizarre premise indicates, this is not a film for those seeking great acting or rich narrative complexities, but it does deliver action and effects in abundance, particularly with the state-of-the-art computer-generated sharks themselves. While they'll never attain the iconic status of Bruce in Steven Spielberg's Jaws (still the granddaddy of all screen sharks), Harlin's swift predators are clever enough to open doors and operate an oven. As the water level rises, Burrows indulges in some Sigourney Weaver-in-Alien-style disrobing, there is one of the great surprise-death scenes, shocking and funny in equal measure, and all concerned keep their tongues firmly in cheek. This DVD version also features commentaries from Harlin and Jackson, deleted scenes, a "making of" feature and a documentary on sharks. --Steve Napleton
This attempt to reunite the stars of White Men Can't Jump will most likely be remembered as the movie that allegedly inspired a number of copycat arsons in the New York subway system. In other words, the movie itself is too perfunctory to be remembered for any other reason. Woody Harrelson and Wesley Snipes share their established chemistry as a pair of stepbrothers who work the subway detail as undercover detectives in the NYPD. Woody's a compulsive gambler with a huge debt problem to contend with, and he's also competing with his brother for the attentions of their new and beautiful partner (Jennifer Lopez), who's been assigned to join their investigation of the subway crimes. They're also supposed to guard the daily money train (so named because it contains each day's worth of subway fares), but Woody gets the bright idea that it might be the solution to his money woes. What follows is standard-issue action fare for the mid-1990s--lots of violence, excessive profanity, and attempts at witty banter between the co-stars to make it all seem more entertaining than it really is. You'd need to be a serious Harrelson, Snipes, or Lopez fan to add this movie to your collection. For anyone else, one viewing ought to be enough. --Jeff Shannon
Sirens screaming and lights flashing, a New York City ambulance speeds through the night.
Facing an indeterminate sentence of weeks/months/years until new episodes, Sopranos fans are advised to take the fifth; season, that is. At this point, superlatives don't do The Sopranos justice, but justice was at last served to this benchmark series. For the first time, The Sopranos rubbed out The West Wing to take home its first Emmy for Outstanding Dramatic Series. Michael Imperioli and Drea de Matteo also earned Best Supporting Actor and Actress honors for some of their finest hours as Christopher and Adriana. From the moment a wayward bear lumbers into the Sopranos' yard in the season opener, it is clear that The Sopranos is in anything but a "stagmire." The series benefits from an infusion of new blood, the so-called "Class of 2004," imprisoned "family" members freshly released from jail. Most notable among these is Tony's cousin, Tony Blundetto (Steve Buscemi, who directed the pivotal season 3 episode "Pine Barrens"), who initially wants to go straight, but proves himself to be something of a "free agent," setting up a climactic stand-off between Tony and New York boss Johnny Sack. These 13 mostly riveting episodes unfold with a page-turning intensity with many rich subplots. Estranged couple Tony and Carmela (the incomparable James Gandolfini and Edie Falco) work toward a reconciliation (greased by Tony's purchase of a $600,000 piece of property for Carmela to develop). The Feds lean harder on an increasingly stressed-out and distraught Adriana to "snitch" with inevitable results. This season's hot-button episode is "The Test Dream," in which Tony is visited by some of the series' dear, and not-so-dearly, departed in a harrowing nightmare. With this set, fans can enjoy marathon viewings of an especially satisfying season, but considering the long wait ahead for season 6, best to take Tony's advice to his son, who, at one point, gulps down a champagne toast. "Slow down," Tony says. "You're supposed to savor it." --Donald Liebenson, Amazon.com
Paul Hogan returns as Mick Dundee, an adventurer in the truest sense. He is an ace crocodile hunter who leaves his home in the wilds of the Australian Outback to take on the dangers of the concrete jungle of Los Angeles!
Arnold Schwarzenegger as a pregnant man? The Terminator with cramps and morning sickness? That was all the teasing audiences needed to flock to this 1994 farce, which reunited Arnold with his director and co-star from Twins, Ivan Reitman and Danny De Vito. Reitman had also directed the Austrian muscleman in Kindergarten Cop, and they brought the same breezy quality of those earlier films to this enjoyable fluff, in which Arnold plays a scientist who uses his own body to test a revolutionary new fertility drug. His colleague De Vito talks him into the experiment, which succeeds beyond their wildest expectations when Arnold begins a full-term pregnancy. Emma Thompson offers a wealth of comedic support as the biologist who moves into Schwarzenegger's lab while he's coping with his "maternal" condition, and Pamela Reed (who was also in Kindergarten Cop) adds to the fun as De Vito's pregnant ex-wife. What's surprising about this mainstream hit is not that it makes the most of its absurd premise, but that it's also sweetly heart-warming in its treatment of role reversal and the joys and pains of pregnancy. It's a good-natured vehicle for a different side of Schwarzenegger's star appeal, and the fact that it works at all is a tribute to Reitman and his cleverly talented cast. --Jeff Shannon, Amazon.com
Unlike the previous three, this fourth series of The Sopranos largely eschews an overriding story arc in favour of developing several interrelated plot strands, most of which are then left dangling tantalisingly at the end. This year Tony's many extra-marital affairs finally come home to roost, even as he faces challenges to his leadership from within and without. Paulie Walnuts simmers with resentment over his perceived neglect, a resentment only exacerbated by Christopher's promotion; while Christopher's growing drug habit undermines Tony's trust in him. Paulie makes overtures to Johnny Sack and the New York family; Sack himself bears a deadly grudge against Ralph Cifaretto, and also embroils Tony in a dispute between the two families. Ralph and Tony clash over a shared interest in both a race horse and a goomar--you just know it's going to end in something much worse than tears. The women have as many problems, though: Adriana has reluctantly turned FBI informer, a drug-addled Christopher squashes her dog, and she has to confess that she can't have children; Carmela falls maddeningly, frustratingly in love with one of Tony's closest companions; Janice inveigles herself into Bobby's affections in a display of breathtaking emotional manipulation; while Meadow can no longer conceal the disgust she feels about her father's business, and Dr Melfi is increasingly sidelined, since Tony's behavioural issues have become, to all practical purposes, untreatable. The whole ends on a downbeat note as personal disillusionment overshadows the mob politics. With the imminent arrival of Steve Buscemi to the cast, the fifth series is primed to be an explosive one. --Mark Walker
What does fate hold in store for Tony in the sixth season of HBO's multi-award winning gangster drama. Featuring 12 episodes.
If you know what to look for, you can find almost anything in the personal ads...including the love of your life! Rosanna Arquette (Pulp Fiction) is irresistible and, in her first starring role, pop star Madonna (Evita) gives a marvellously comic performance in this delightfully mad-cap comedy about mistaken identity. Bored New Jersey housewife Roberta (Arquette) fills her days by reading the personal ads and following an ongoing romance between Jim (Robert Joy) and Susan (Madonna), a mysterious drifter who appears to lead the kind of free-spirited life about which Roberta can only dream. And dream she does, until the day she actually shows up at the couple's pre-arrange rendezvous in New York City...and after a bump on the head, a bout of amnesia turns Roberta into Susan and opens the door to intrigue, laughter and love! Product Features Brand new interviews with director susan seidelman, producer sarah pillsbury & author of Madonna: like an icon lucy o'brien. Postcards, booklet & poster Bespoke cover art.
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
James Gandolfini and Kate Winslet star in this acclaimed musical comedy drama from director John Turturro.
A woman called Meg Harris finds herself cast into the spotlight when she is the victim of a female rape. Meg is threatened by her husband when she decides to go to court. Meanwhile the accused two regulars from a local bar are protected when the bar owner Jack chooses to lie under oath. This taut thriller was nominated for best feature at the International Gay and Lesbian Film Festival.
Antonio Banderas and Woody Harrelson are two friends & failed boxers who travel across America for one last chance to ressurect their career.
Arnold Schwarzenegger as a pregnant man? The Terminator with cramps and morning sickness? That was all the teasing audiences needed to flock to this 1994 farce, which reunited Arnold with his director and co-star from Twins, Ivan Reitman and Danny De Vito. Reitman had also directed the Austrian muscleman in Kindergarten Cop, and they brought the same breezy quality of those earlier films to this enjoyable fluff, in which Arnold plays a scientist who uses his own body to test a revolutionary new fertility drug. His colleague De Vito talks him into the experiment, which succeeds beyond their wildest expectations when Arnold begins a full-term pregnancy. Emma Thompson offers a wealth of comedic support as the biologist who moves into Schwarzenegger's lab while he's coping with his "maternal" condition, and Pamela Reed (who was also in Kindergarten Cop) adds to the fun as De Vito's pregnant ex-wife. What's surprising about this mainstream hit is not that it makes the most of its absurd premise, but that it's also sweetly heart-warming in its treatment of role reversal and the joys and pains of pregnancy. It's a good-natured vehicle for a different side of Schwarzenegger's star appeal, and the fact that it works at all is a tribute to Reitman and his cleverly talented cast. --Jeff Shannon, Amazon.com
No One Hits As Hard As Your Best Friend... Hollywood heavyweights Woody Harrelson and Antonio Banderas bring real comedic punch to this hilarious action-packed hit! Best buddies and sparring partners Vince (Harrelson) and Cesar (Banderas) are a pair of worn-out over-the-hill prizefighters who jump at one last unexpected chance to work in the big time. They just have to be in Las Vegas...now! So before they know what's hit them they're on the road! But when they step into the ring that night friendship is replaced by fierce competition as Vince and Cesar tangle in a dramatic fight to the finish - where only the winner will earn a shot at the title. With sexy Lolita Davidovich (Mystery Alaska) and sultry Lucy Liu (Ally McBeal) along to liven up the ride you won't want to miss any of the knockout entertainment that powers this whirlwind comedy adventure.
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
Please wait. Loading...
This site uses cookies.
More details in our privacy policy