The story of Calamity Jane, her saloon, and her romance with Wild Bill Hickok.
Judge Dredd is one of those movies that doesn't have a brain of its own, so it can only rip off a lot of ingredients from other, better movies. It's a mishmash of Blade Runner, Total Recall, and The Road Warrior, with a dash of Star Wars tossed in for good measure. As if that weren't enough, it's got Sylvester Stallone, who seems to be the only one in the movie who's in on the game and knows it's all a sci-fi scam. Like The Fifth Element a few years later, Judge Dredd depicts a futuristic megalopolis packed with crowded vertical overgrowth and rampant commerce, where anarchy reigns supreme. Violent "block wars" are fought by lawless citizens with machine guns, and Judge Dredd (Stallone) is one of the city's heavily armed policemen, given free rein to judge and execute the perpetrators of violence. But Dredd himself is subjected to judgement and swift justice when his own gun is identified in the murder of a prominent TV reporter, forcing him to do whatever he can to clear his name. Diane Lane plays his partner in crime-fighting and romance, and Rob Schneider provides juvenile comic relief as Dredd's streetwise sidekick. Impressive special effects are on vivid display, and the movie's fun for what it's worth. Lower your expectations and you just might enjoy it. --Jeff Shannon
Security guard Harry Caine (Turturro) is desperately searching for a reason behind the murder of his wife. He spends his nights watching CCTV footage to find a face that might give him a clue. His walls are plastered with 'suspects' but when he closes in on one who might be the killer his world is turned upside down once again...
This splendid BBC dramatization brings to life all the glorious wit and sharp humour of Jane Austen's - arguably her finest - novel Emma recreating her most irritatingly endearing female character of whom she wrote ""no one but myself could like."" Emma presides over the small provincial world of Highbury with enthusiasm but she will find that it is all too easy to confuse good intensions with self-gratification. the often insensitive ever well-meaning incorrigible Emma Woo
Car troubles and a spooky waxworks museum spell trouble for a gang of US teens in this horror re-make.
A tough hard-drinking gold prospector agrees to pick up his partner's fiance but winds up with a beautiful substitute. When both partners begin vying for her favour trouble inevitably breaks out!
Part Seductress. Part Assassin. All Vampire! Lilith Silver should have died in 1850 the innocent victim of a pistol duel between her lover Jack Ryder and the sinister Sir Sethane Blake. Unwilling to let her die the victorious Blake grants Lilith Silver the gift of eternal life and the freedom to wander time and kill at will as a vampire. The present day sees Lilith Silver employed as a headstrong contract killer paid to assassinate the 'Illuminati' - an underground sect whose
Now you see it. You're amazed. You can't believe it. Your eyes open wider. It's horrible, but you can't look away. There's no chance for you. No escape. You're helpless, helpless. There's just one chance, if you can scream. Throw your arms across your eyes and scream, scream for your life!" And scream Fay Wray does most famously in this monster classic, one of the greatest adventure films of all time, which even in an era of computer-generated wizardry remains a marvel of stop-motion animation. Robert Armstrong stars as famed adventurer Carl Denham, who is leading a "crazy voyage" to a mysterious, uncharted island to photograph "something monstrous ... neither beast nor man". Also aboard is waif Ann Darrow (Fay Wray) and Bruce Cabot as big lug John Driscoll, the ship's first mate. King Kong's first half-hour is steady going, with engagingly corny dialogue ("Some big, hard-boiled egg gets a look at a pretty face and bang, he cracks up and goes sappy") and ominous portent that sets the stage for the horror to come. Once our heroes reach Skull Island, the movie comes to roaring, chest-thumping, T-rex-slamming, snake-throttling, pterodactyl-tearing, native-stomping life. King Kong was ranked by the American Film Institute as among the 50 best films of the century. Kong making his last stand atop the Empire State Building is one of the film's most indelible and iconic images. --Donald Liebenson, Amazon.comOn the DVD: Although a little light on extras, this is happily the Director's Cut, restoring scenes that were censored after the film's original 1933 run, including Kong peeling off Fay Wray's clothes like a banana, and our hirsute hero using unfortunate natives as dental floss. The ratio of 4:3 is correct for a film of this age; the picture and (mono) sound are perfectly acceptable without being revelatory. The 25-minute "making of" documentary from 1992 is a 60th anniversary tribute to the film, which details all of Kong's many ground-breaking contributions to cinema, from Willis O'Brien's use of stop-motion and rear projection effects to Max Steiner's music score. There are contributions from film historians, modern admirers of the film including composer Jerry Goldsmith--who admits that Steiner created a template that Hollywood composers are still following--and a few surviving participants such as sound effects man Murray Spivak. Apparently, director Merian C. Cooper's original idea was to capture live gorillas, transport them to the island of Komodo and film them fighting the giant lizards! Thanks to Willis O'Brien's pioneering effects work good sense prevailed and a cinema classic was born. --Mark Walker
This 1953 musical is very much a vehicle for Doris Day, in the title role, as a wild cowgal who can out-shoot and out-sing any boy on the range. When an actress arrives in Deadwood and uses her feminine charms on Jane's secret love, Wild Bill Hickock (Howard Keel), Jane tries to mend her tomboy ways. Not exactly up to the feminist code of honour, this is still energetic and Day is very perky. Of course, one could almost detect a homosexual undercurrent with the cross-dressing Jane, but this was Hollywood in the 1950s, so we best not. Calamity Jane won an Oscar for Best Song--"Secret Love", by Sammy Fain and Paul Francis Webster. --Rochelle O'Gorman
Car troubles and a spooky waxworks museum spell trouble for a gang of US teens in this horror re-make.
Horror Film Director Found Slain, Buried Under Floor , screamed the 1995 headlines read around the world. But the truth behind the wild life of Al Adamson including the production of such low budget classics as SATAN'SADISTS, DRACULA VS. FRANKENSTEIN and THE NAUGHTY STEWARDESSES and his grisly death reveals perhaps the most bizarre career in Hollywood history. Told through over 40 first-person recollections from friends, family, colleagues and historians plus rare clips and archival interviews with Adamson himself BLOOD & FLESH is the award-winning chronicle of bikers, go-go dancers, porn stars, aging actors, freak-out girls, Charles Manson, Colonel Sanders, alien conspiracies and homicidal contractors that House Of Mortal Cinema calls brilliant stuff a superb documentary and one of the top films of the year.
Shortly after she moves into her own flat in Brighton Bella finds she is being spied on and generally harassed by a man living across from her. Finally driven to solving the problem with a hammer she realises she is then ready for a crusade against other such problem males.
A bumper box set of classic films featuring 'The Queen' Barbara Stanwyck! Double Indemnity (Dir. Billy Wilder 1944): Director Billy Wilder and writer Raymond Chandler ('The Big Sleep') adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray) who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But of cou
Way Out West, Laurel and Hardy's sole foray into cowboy country, benefits from their rousing rendition of "The Blue Ridge Mountains of Virginia" (a song which made it into the British charts a few years ago) and some inspired villainy from James Finlayson, the Scottish actor who was frequently cast as Stan and Ollie's nemesis (here, he plays villainous bartender Mickey Finn). The plot is some hokum about Stan and Ollie's attempts to deliver deeds to a gold mine to the daughter of an old pal. What matters is the clowning--most of which is inspired. --Geoffrey Macnab
This near two-hour Granada Television production of The Hound of the Baskervilles, Conan Doyle's most popular Sherlock Holmes tale, stars series regular Jeremy Brett as the Baker Street detective and Edward Hardwicke as his close ally, Dr John Watson. A thrilling blend of detective yarn and Gothic horror, the tale concerns the apparent return of an old curse upon the Baskerville family in the terrifying form of a gigantic killer hound. Fans of Hardwicke get an opportunity to see his Watson on a solo mission for part of this story, though Brett--easily the best of all screen actors to play the sleuth--is never far from the narrative. The supporting cast is very good, and the beast itself, revealed in a famously terrifying finale, is indeed a spooky revelation. --Tom Keogh
Lilith Silver should have died in 1850 the innocent victim of a pistol duel between her lover Jack Ryder and the sinister Sir Sethane Blake. Unwilling to let her die the victorious Blake grants Lilith Silver the gift of eternal life and the freedom to wander time and kill at will as a vampire. The present day sees Lilith Silver employed as a head strong contract killer paid to assassinate the 'IIIuminati' - an underground sect whose power is attained through technology and supernatural powers. When Platinum - Lilith's modern day boss and lover - is kidnapped by the IIIuminati she falls into a dangerous web of conspiracy One by one their group is falling pray to the vampire killer and she must be stopped. Lilith now cornered by the police and IIIuminati responds as only the undead can by raising the body count in any way possible....
John Wayne hits the pioneer trail in his first feature film. Starring as the leader of a wagon trail he battles through tough terrain and Indian attacks and learns of love and friendship in this sweeping Western epic!
Coronation Street was first broadcast in December of 1960 and since then has gone from strength to strength in establishing itself as the nation's favourite soap opera. With a more light hearted slant on the genre Coronation Street has always drawn viewers from across the generations and its longevity is tribute to it's across the board appeal. On this DVD we take a look back to 1973 and eight classic episodes from that year.
In the late 1960s and early 70s, a bizarre alliance between the Filippino movie company Hemisphere and the American exploitation outfit Independent International yielded a series of weirdly interconnected horror movies, most of which work the word Blood into the title. The Filippino items are strangely fascinating vampire and mad scientist pictures with oddball colour effects and a mix of naive serial-style thrills and extreme-for-the-era sex and gore; the American efforts, from director Al Adamson, are shoddier, thrown together from offcuts of previous pictures, and are lead-paced but nevertheless curiously appealing. Gaze in awe at mutant killer trees, slobbering hunchbacked servants, faded matinee idols, stripper-turned-actress heroines with concrete blonde hairdos, evil dwarves, John Carradine or Lon Chaney, footage cut in from completely different films, Dracula and Frankenstein meeting hippies and bikers, red filters when the vampires attack, chanting natives! Plus lots of exclamation marks! Plus lurid trailers! In Horror of the Blood Monsters vampires are overrunning Earth (cheaply), so John Carradine leads a space mission (rocket footage from another film) to the planet the bloodsuckers come from, and the astronauts vaguely interact with tinted black and white footage from a Filippino prehistoric epic. It makes no sense whatsoever. --Kim Newman
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