A sweeping love story about a 1940s romance between two teens from very different worlds.
Beginning with the 1997 cult classic that rocked movie-goers and encouraged a new generation of thrill-seekers to avoid a backpacking trip to the wilds of Latin America, the ANACONDA series hits BluRay from 88 Films with each film restored in gloriously gory HD. For the original film, starring Oscar winner Jon Voight (MIDNIGHT COWBOY), pop sensation J-Lo, Ice Cube (THREE KINGS), Eric Stoltz (PULP FICTION) and Owen Wilson (ZOOLANDER), audiences were introduced to a group of hunted and helpless explorers who encounter a legendary giant reptile whilst sailing upstream in the legendary wilds of Colombia's epic rainforest. ANACONDA wrapped itself around audiences over two decades ago and is sure to slither its way into the hearts of horror buffs of a new generation. For ANACONDAS: THE HUNT FOR THE BLOOD ORCHID (2004), the veteran fear-filmmaker Dwight Little (HALLOWEEN 4: THE RETURN OF MICHAEL MYERS) gave audiences not just one giant carnivorous serpent but an entire gang of them! Adding even more fright to the formula, the sequel ups the stakes of survival - and was followed by ANACONDA 3: OFFSPRING (2008) in which cult legend David Hasselhoff (STARCRASH) attempts to avoid becoming a snake snack whilst discovering that scientific misdeeds has resulted in the creation of an inflated and very dangerous new forked-tongue antagonist. Finally comes ANACONDAS: TRAIL OF BLOOD (2009), headlined by the great John Rhys-Davis (LORD OF THE RINGS) and packing-in more squish and screams than ever before!! The snake is ready to strike... dare you chow down on this feast of slithery fear on BluRay? Special Features Disc One: Anaconda (1997) HD Transfer in Original 2.35:1 Aspect Ratio Optional English Subtitles English DTS-HD MA 5.1 Audio Commentary by Genre Expert Scott Harrison A Blockbuster with Bite - The Legacy of Anaconda: Interview with Critic Kim Newman Slithery Story - Remembering the Effects of Anaconda: An Interview with SFX Supervisor Steve Johnson Squeeze Play - Producing Anaconda: An Interview with Producer Leonard Rabinowitz A Franchise with Fangs - Remembering the Anaconda Movies - Interview with Tremors Expert Jonathan Melville Original Theatrical Trailer Disc 2: Anacondas - The Hunt For the Blood Orchid (2004) HD Transfer in Original 2.40:1 Aspect Ratio Optional English Subtitles English DTS-HD MA 5.1 Audio Commentary by Genre Expert Scott H Deleted Scenes Special Effects Toolbox - Creating Anacondas Featurette Original Theatrical Trailer Disc 3: Anaconda 3 - Offspring (2008) / Anacondas - Trail of Blood (2009) HD Transfers in Original 1.85:1 Aspect Ratio Optional English Subtitles English DTS-HD MA 5.1 Audio Commentary by Genre Expert Scott H Also Includes: Limited Edition (3000) Slipcases Enclosed Fold-Out Digipack with new Paintings from Acclaimed artist, Jeremy Pailler Extensive Booklet Notes by Film Journalists Dave Wain and Matty Budrewicz
Adam Sandler stars as Nicky, the youngest son of the devil, who is sent to earth to restore the balance of good & evil disrupted by his satanic brothers.
Paul Verhoeven was almost unknown in Hollywood prior to the release of RoboCop in 1987. But after this ultra-violent yet strangely subversive and satirical sci-fi picture became a huge hit his reputation for extravagant and excessive, yet superbly well-crafted filmmaking was assured. Controversial as ever, Verhoeven saw the blue-collar cop (Peter Weller) who is transformed into an invincible cyborg as "an American Jesus with a gun", and so the film dabbles with death and resurrection imagery as well as mercilessly satirising Reagan-era America. No targets escape Verhoeven's unflinching camera eye, from yuppie excess and corporate backstabbing to rampant consumerism and vacuous media personalities. As with his later sci-fi satire Starship Troopers the extremely bloody violence resolutely remains on the same level as a Tom and Jerry cartoon. The inevitable sequel, competently directed by Irvin Kershner, thankfully continues to mine the dark vein of anti-consumerist satire while being reflexively aware that it is itself a shining example of that which it is lampooning. Sadly the third instalment in the series, now without Peter Weller in the title role, is exactly the kind of dumbed-down production-line flick that the corporate suits of OCP might have dreamed up at a marketing meeting. Its only virtue is a decent music score from regular Verhoeven collaborator Basil Poledouris, whose splendid march theme returned from the original score. On the DVD: Packaged in a fold-out slipcase these three discs make a very collectable set. All are presented in 1.85:1 anamorphic prints, although only the first movie has any extra material worth mentioning. Here the Director's Cut option allows the viewer to see Paul Verhoeven's more explicitly violent versions of Murphy's "assassination", ED-209's bloody malfunction and the shootout finale. These extended sequences are handily signposted in the scene selection menu, and the filming of them can be seen in a sequence of Director's Cut footage. Deleted scenes include "Topless Pizza" ("I'll buy that for a dollar!") and there are two contemporary "making of" featurettes plus a good, new half-hour retrospective. Both the latter and the director's commentary make abundantly clear the Reagan-era satire and are chock full of quotable lines from Verhoeven--"I wanted to show Satan killing Jesus"--and his producer--"Fascism for liberals". Stop-motion animator Phil Tippett gives a commentary on the storyboard-to-film comparisons, and there are the usual trailers and photos. Showing just how much the sequels are rated in comparison, the second and third discs have nothing but theatrical trailers and their sound is just Dolby 2.0 whereas the original movie has been remastered into Dolby 5.1.--Mark Walker
A viral outbreak on a remote South Pacific island lures a secret expedition to investigate. The natives there are dying from a lethal cocktail of neurotoxins and the most likely cause is a venomous spider bite. The suspect - a previously unknown species of arachnid. Now a terrifying predator with a voracious appetite and a killer instinct is hunting ex-Navy pilot Lauren Mercer and her team of soldiers and scientists. To make matters worse the thing is multiplying at a ferocious r
A mother searches for her sick daughter in the haunted, deserted town of Silent Hill in this chilling horror.
Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk". Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is incontestable when he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater".The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson
At his best, director John Woo turns action movies into ballets of blood and bullets grounded in character drama. Face/Off marks Woo's first American film to reach the pitched level of his best Hong Kong work (Hard-Boiled). He takes a patently absurd premise--hero and villain exchange identities by literally swapping faces in science-fiction plastic surgery--and creates a double-barrelled revenge film driven by the split psyches of its newly redefined characters. FBI agent Sean Archer (John Travolta) must play the villain to move through the underworld while psychotic terrorist Castor Troy (Nicolas Cage) becomes a perversely paternal family man, while using every tool at his disposal to destroy his nemesis. Travolta vamps Cage's tics and flamboyant excess with the grace of a dancer after his transformation from cop to criminal, while Cage plays the sullen, bottled-up agent excruciatingly trapped behind the face of the man who killed his son. His attempts to live up to the terrorist's reputation become cathartic explosions of violence that both thrill and terrify him. This is merely icing on the cake for action fans, the dramatic backbone for some of the most visceral action thrills ever. Woo fills the screen with one show-stopping set-piece after another, bringing a poetic grace to the action freakout with sweeping camerawork and sophisticated editing. This marriage of melodrama and mayhem ups the ante from cops-and-robbers clichés to a conflict of near-mythic levels. --Sean Axmaker
Don't just think of The Wedding Singer as an Adam Sandler comedy--though it most certainly is that. But also think of it as the tip of the wave of the 1980s nostalgia craze that followed on the heels of the 1970s nostalgia craze. Set in the post-disco, new wave era, the film tells the story of Robbie Hart (Sandler), the king of small-town wedding-band singers, who once dreamt of being a rock star. But his contentment with life shatters when his fiancée stands him up at the altar. After wallowing in self-pity (by musically attacking the next wedding couple he serenades) and swearing off women, he helps a new friend, Julia (Drew Barrymore), get ready for her impending nuptials--only to find himself falling in love with her. If you're a Sandler fan, you'll enjoy him as an actual adult, though a wise-cracking one. And dig all those kooky 80s reference jokes and that greatest-hits-of-early-MTV soundtrack. --Marshall Fine
Legendary comic filmmakers Sandy Bates (Allen) is tired of being funny. Teetering on the brink of a nervous breakdown Bates attends a weekend retrospective of his films only to confront the meaning of his work the memories of his great love Dorrie (Charlotte Rampling) and the merits of settling down with new girlfriends Isobel (Marie-Christine Barrault). Plagued by hallucinations alien visitations and the bloodless studio executives trying to re-cut his bleak new film Bates struggles to find a reason to go on living. But when he falls prey to a gun-wielding fanatic his zany brush with death reveals that there is value to his own existence and that often the best reason to go on living is life itself.
Matt Damon returns as the amnesiac assassin Jason Bourne who must return to the world he has so tried to leave behind him when a murder is committed in his name.
A sweet-natured, small-town guy inherits a controlling stake in a media conglomerate and begins to do business his way.
The Bourne Legacy introduces a brand new hero Aaron Cross (Jeremy Renner) - an agent on the run from destruction and on a journey to discover the truth, in life-or-death stakes created by events of the first three Bourne Films. Cross and Dr. Shearing (Rachel Weisz) fight to survive as CIA Ops, led by Eric Byer (Edward Norton) attempt to shut down their Operation and make everyone involved disappear for good. The brains behind the previous films, Tony Gilroy, returns to take Bourne to the next level of this thrilling action series. An all-new cast is joined by veterans Albert Finney, Joan Allen, David Strathairn and Scott Glenn in The Bourne Legacy.
You have to leave room for the surprises... Nicole (Renee Goldsberry) is very much in love with her boyfriend Robbie who has an excess of intelligence and ambition. But one night at a party she is heartbroken to learn that she doesn't figure in his future plans. She moves from Los Angeles to San Francisco to start anew. Months later a strange coincidence sees Brian (Terron Brooks) Robbie's estranged younger brother subletting Nicole's roommate's room for a month. Before long N
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...
Jennifer Lopez marries her dream man, but soon discovers he isn't the man she thought he was. For her own safety - and that of her daughter - she decides to take drastic action...
A groundbreaking screwball caper, 1978's National Lampoon's Animal House was in its own way a rite of passage for Hollywood. Set in 1962 at Faber College, it follows the riotous carryings-on of the Delta Fraternity, into which are initiated freshmen Tom Hulce and Stephen Furst. Among the established house members are Tim Matheson, Peter Riegert and the late John Belushi as Bluto, a belching, lecherous, Jack Daniels guzzling maniac. A debauched house of pranksters (culminating in the famous Deathmobile sequence), Delta stands as a fun alternative to the more strait-laced, crew-cut, unpleasantly repressive norm personified by Omega House. As cowriter the late Doug Kenney puts it, "better to be an animal than a vegetable". Animal House is deliberately set in the pre-JFK assassination, pre-Vietnam era, something not made much of here, but which would have been implicitly understood by its American audience. The film was an enormous success, a rude, liberating catharsis for the latter-day frathousers who watched it. However, decades on, a lot of the humour seems broad, predictable, boorish, oafishly sexist and less witty than Airplane!, made two years later in the same anarchic spirit. Indeed, although it launched the Hollywood careers of several of its players and makers, including Kevin Bacon, director John Landis, Harold Ramis and Tom Hulce, who went on to do fine things, it might well have been inadvertently responsible for the infantilisation of much subsequent Hollywood comedy. Still, there's an undeniable energy that gusts throughout the film and Belushi, whether eating garbage or trying to reinvoke the spirit of America "After the Germans bombed Pearl Harbour" is a joy. On the DVD: Animal House comes to disc in a good transfer, presented in 1.85:1. The main extra is a featurette in which director John Landis, writer Chris Miller and some of the actors talk about the making of the movie. Interestingly, 23 years on, most of those interviewed look better than they did back in 1978, especially Stephen "Flounder" Furst. --David Stubbs
Woody Allen's second film as a director was a wild, unpredictable and unlikely comedy about a product-tester named Fielding Mellish (Allen), who can't quite connect with the woman of his dreams (Louise Lasser, Allen's ex-wife). He accidentally winds up in South America as a freedom fighter for a guerrilla leader who looks like Castro. Once he assumes power, the new dictator quickly goes insane--which leaves Fielding in charge to negotiate with the US. The film is chockfull of wonderfully bizarre gags, such as the dreams Fielding recounts to his shrink about dueling crucified messiahs, vying for a parking place near Wall Street. Look for an unknown Sylvester Stallone in a tiny role--but watch this film for Allen's surprisingly physical (and always verbally dexterous) humour. --Marshall Fine
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