Director Garry Marshall's 1988 drama Beaches about the 30-year friendship between two women, one wealthy (Barbara Hershey) and the other (Bette Midler) seeking her fortune in show business, is well written (based on the novel by Iris Rainer Dart) and nicely textured in its contrast between the characters' separate destinies. When Hershey becomes ill with cancer, the film takes a predictably sentimental course, yet Marshall brings out the best in both actresses and catches some very fine drama. Beaches is a little too long, perhaps, but overall it is a fine experience. --Tom Keogh
This film, about a downsized engineer (Michael Douglas) who goes ballistic, triggered a media avalanche of stories about middle-class white rage when it was released in 1993. In fact, it's nothing more than a manipulative, violent melodrama about one geek's meltdown. Douglas, complete with pocket protector, nerd glasses, crewcut and short-sleeved white shirt, gets stuck in traffic one day near downtown LA and proceeds to just walk away from his car--and then lose it emotionally. Everyone he encounters rubs him the wrong way--and a fine lot of stereotypes they are, from threatening ghetto punks to rude convenience store owners to a creepy white supremacist--and he reacts violently in every case. As he walks across LA (now there's a concept), cutting a bloody swath, he's being tracked by a cop on the verge of retirement (Robert Duvall). He also spends time on the phone with his frightened ex-wife (Barbara Hershey). Though Douglas and Duvall give stellar performances, they can't disguise the fact that, as usual, this is another film from director Joel Schumacher that is about surface and sensation, rather than actual substance. --Marshall Fine, Amazon.com --This text refers to the VHS edition of this video
""Warmhearted wise and fiercely funny!"" -The New York Times Brimming with laughter tears and subtle beauty Hannah And Her Sisters is a magnificent ""summation of (Woody Allen's) career to date"" (The New York Times). Winner of three Oscars and featuring a brilliant all-star cast Hannah And Her Sisters spins a tale of three unforgettable women and showcases Allen ""at his most emotionally expansive working on his broadest canvas with masterly ease"" (Newsweek)! The eldest daught
A clever and relentless thrill ride that defies audience expectation at every turn, in Strange Darling, nothing is what it seems when a twisted one-night stand spirals into a serial killer's vicious murder spree. A fascinating new horror-thriller from the producers of 'Late Night with the Devil' and 'Barbarian', this flawlessly constructed fresh take on the cat-and-mouse genre stars Willa Fitzgerald (Reacher, Scream series), Kyle Gallner (Smile, 2022 Scream), Ed Begley Jr. (Better Call Saul, A Mighty Wind), and Barbara Hershey (Black Swan, Insidious, The Last Temptation of Christ). BLU-RAY SPECIAL CONTENT: Cast and crew behind-the-scenes interviews, plus TV spots and trailers A clever masterpiece STEPHEN KING â â â â â The rush of blood you've been screaming out for EVENING STANDARD â â â â â 2024's best thriller DIGITAL SPY â â â â â The most exciting genre movie of the year HEYUGUYS â â â â â Electrifying DEXERTO â â â â â Insanely addictive and hideously entertaining THE PEOPLE'S MOVIES â â â â â Astonishing FILM NEWS â â â â â Brilliant Great characters, great performances, great cinematography and breakneck pacing HORROR CULT FILMS â â â â A slick game of cat-and-mouse TOTAL FILM
A clever and relentless thrill ride that defies audience expectation at every turn, in Strange Darling, nothing is what it seems when a twisted one-night stand spirals into a serial killer's vicious murder spree. A fascinating new horror-thriller from the producers of 'Late Night with the Devil' and 'Barbarian', this flawlessly constructed fresh take on the cat-and-mouse genre stars Willa Fitzgerald (Reacher, Scream series), Kyle Gallner (Smile, 2022 Scream), Ed Begley Jr. (Better Call Saul, A Mighty Wind), and Barbara Hershey (Black Swan, Insidious, The Last Temptation of Christ). BLU-RAY SPECIAL CONTENT: Cast and crew behind-the-scenes interviews, plus TV spots and trailers A clever masterpiece STEPHEN KING â â â â â The rush of blood you've been screaming out for EVENING STANDARD â â â â â 2024's best thriller DIGITAL SPY â â â â â The most exciting genre movie of the year HEYUGUYS â â â â â Electrifying DEXERTO â â â â â Insanely addictive and hideously entertaining THE PEOPLE'S MOVIES â â â â â Astonishing FILM NEWS â â â â â Brilliant Great characters, great performances, great cinematography and breakneck pacing HORROR CULT FILMS â â â â A slick game of cat-and-mouse TOTAL FILM
Feverish worlds such as espionage and warfare have nothing on the hothouse realm of ballet, as director Darren Aronofsky makes clear in Black Swan, his over-the-top delve into a particularly fraught production of Swan Lake. At the very moment hard-working ballerina Nina (Natalie Portman) lands the plum role of the White Swan, her company director (Vincent Cassel) informs her that she'll also play the Black Swan--and while Nina's precise, almost virginal technique will serve her well in the former role, the latter will require a looser, lustier attack. The strain of reaching within herself for these feelings, along with nattering comments from her mother (Barbara Hershey) and the perceived rivalry from a new dancer (Mila Kunis), are enough to make anybody crack and tracing out the fault lines of Nina's breakdown is right in Aronofsky's wheelhouse. Those cracks are broad indeed, as Nina's psychological instability is telegraphed with blunt-force emphasis in this neurotic roller-coaster ride. The characters are stick figures--literally, in the case of the dancers, but also as single-note stereotypes in the horror show: witchy bad mummy, sexually intimidating male boss, wacko diva (Winona Ryder, as the prima ballerina Nina is replacing). Yet the film does work up some crazed momentum (and undeniably earned its share of critical raves), and the final sequence is one juicy curtain-dropper. A good part of the reason for this is the superbly all-or-nothing performance by Natalie Portman, who packs an enormous amount of ferocity into her small body. Kudos, too, to Tchaikovsky's incredibly durable music, which has meshed well with psychological horror at least since being excerpted for the memorably moody opening credits of the 1931 Dracula, another pirouette through the dark side. --Robert Horton
Spine-chilling tale about a woman who is raped and attacked by an unknown spirit... Dazzling special effects powerful acting a taut tightly written script and imaginative direction all combine to make 'The Entity' a powerhouse supernatural film that will rivet you to your seat. Based on a true event which took place in California October 1976.
An epic aviation film, based on Tom Wolfe's book, which charts the history of flight from Chuck Yeager's (Sam Shepard) legendary sound barrier-breaking flight in the 1940s, to the first men in space in the 1960s. The story centres on the relentless efforts of several US pilots to break all records set before them, finalising in the US space exploration programme of the 1960s, in which seven pilots were chosen to represent America in the heated space race with the Russians.
Josh (Patrick Wilson) and Renai (Rose Byrne) have a happy family with their three young children. When tragedy strikes their young son Josh and Renai begin to experience things that science cannot explain. James Wan and Leigh Whannell the co-creators of Saw join forces with the producers of Paranormal Activity to take you on a mind-bending journey into the world of the unknown.
It's wartime Germany and a group of kids calling themselves the Swing Kids get together at their local dance and swing to the sounds of the American 30's...
It isn't difficult to imagine why this 1988 retelling of the Crucifixion story was picketed so vociferously on its release in the US--this Jesus bears little resemblance to the classical Christ, who was not, upon careful review of the Gospels, ever reported to have had sex with Barbara Hershey. Heavily informed by Gnostic reinterpretations of the Passion, The Last Temptation of Christ (based rather strictly on Nikos Kazantzakis's novel of the same name) is surely worth seeing for the controversy and blasphemous content alone. But the "last temptation" of the title is nothing overtly naughty--rather, it's the seduction of the commonplace; the desire to forgo following a "calling" in exchange for domestic security. Willem Dafoe interprets Jesus as spacey, indecisive and none too charismatic (though maybe that's just Dafoe himself), but his Sermon on the Mount is radiant with visionary fire; a bit less successful is method actor Harvey Keitel, who gives the internally conflicted Judas a noticeable Brooklyn accent, and doesn't bring much imagination to a role that demands a revisionist's approach. Despite director Martin Scorsese's penchant for stupid camera tricks, much of the desert footage is simply breathtaking, even on small screen. Ultimately, Last Temptation is not much more historically illuminating than Monty Python's Life of Brian, but hey, if it's authenticity you're after, try Gibbon's. --Miles Bethany
Academy Award nominee Barbara Hershey stars as Carla Moran, a hard-working single mother who, one terrible night is raped in her bedroom by someone or something that she cannot see. Met with sceptical psychiatrists, she is repeatedly attacked in her car, in the bath, and in front of her children. Could this be a case of hysteria, a manifestation of childhood sexual trauma, or something even more horrific? Now, with a group of daring parapsychologists, Carla will attempt an unthinkable experiment: to seduce, trap and ultimately capture the depraved spectral fury that is The Entity. Eureka Entertainment is proud to present this ground-breaking horror on Blu-ray. Special Features: Optional English subtitles for the deaf and hard-of-hearing Trailer
Josh (Patrick Wilson) and Renai (Rose Byrne) are a happily married couple with three young children who have moved into their idyllic new suburban home. When tragedy strikes their young son, Josh and Renai begin to experience things in the house that are beyond explanation. Insidious 2 After the traumatic events that plagued their family, the Lambert family move into their grandmother's home. However all is not well as Josh (Patrick Wilson) and Renai (Rose Byrne) continue to experience the demonic forces that are set on turning their lives to chaos. Insidious 3 Set before the haunting of the Lambert family, Insidious 3 reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity.
Freeways are clogged. Terror stalks our cities. At shops and restaurants the customer is seldom right. The pressures of big-city life can anger anyone. But Bill Foster is more than angry. He's out to get even. I'm going home Foster says as he abandons his grid-locked car on the hottest day of the year. Instead he walks straight into an urban nightmare by turns absurdly funny and shatteringly violent. Michael Douglas is Foster an ordinary guy at war with the frustrations of daily living. Robert Duvall is the savvy cop obsessed with stopping Foster's city-wide rampage. Falling Down is their story a spellbinding unconventional thriller that asks: are we falling apart?
Witness. Target. Protector. Gypsy Moon (Lena Headey - Game of Thrones) is a novelist by day but when night falls she dances to earn her keep. However, when the family next door is brutally murdered Gypsy finds herself on the run from crime boss Jack (Sam Worthington - Avatar) and his thugs. Finding herself as protector to a young boy and his dog, the only survivors of the brutal attack, Gypsy realises she is the only thing that stands between them and their survival in this truly edge-of-your seat thriller. Directed and written by Gigi Gaston. Also starring Cam Gigandet (Burlesque), Barbera Hershey (Once Upon a Time), La La Anthony (Power) and Martin Sensmeier (Westworld)
This isitheichilling account ofia horrific andiviolent axe murder. Candy Morrison (Barbara Hershey The Killer Beside Me Chicago Hope) is bored with her life as a wife and mother in a small town. She yearns for excitement and finds it in the arms of her husband's close friend Stan Blankenship. But the passionate affair ends almost as soon as it began. A few weeks later Stan's wife is found brutally murdered - axed to death. Never before in the town's history has someone been killed in such a violent manner. Unbelievably Candy becomes the prime suspect. Is Candy merely a scapegoat? Or does she harbor a secret that could push her past the brink of insanity?
It isn't difficult to imagine why this 1988 retelling of the Crucifixion story was picketed so vociferously on its release in the US--this Jesus bears little resemblance to the classical Christ, who was not, upon careful review of the Gospels, ever reported to have had sex with Barbara Hershey. Heavily informed by Gnostic reinterpretations of the Passion, The Last Temptation of Christ (based rather strictly on Nikos Kazantzakis's novel of the same name) is surely worth seeing for the controversy and blasphemous content alone. But the "last temptation" of the title is nothing overtly naughty--rather, it's the seduction of the commonplace; the desire to forgo following a "calling" in exchange for domestic security. Willem Dafoe interprets Jesus as spacey, indecisive and none too charismatic (though maybe that's just Dafoe himself), but his Sermon on the Mount is radiant with visionary fire; a bit less successful is method actor Harvey Keitel, who gives the internally conflicted Judas a noticeable Brooklyn accent, and doesn't bring much imagination to a role that demands a revisionist's approach. Despite director Martin Scorsese's penchant for stupid camera tricks, much of the desert footage is simply breathtaking, even on small screen. Ultimately, Last Temptation is not much more historically illuminating than Monty Python's Life of Brian, but hey, if it's authenticity you're after, try Gibbon's. --Miles Bethany
Philip Kaufman's intimate epic about the Mercury astronauts (based on Tom Wolfe's book) was one of the most ambitious and spectacularly exciting movies of the 1980s. It surprised almost everybody by not becoming a smash hit. By all rights, the film should have been every bit the success that Apollo 13 would later become; The Right Stuff is not only just as thrilling, but it is also a bigger and better movie. Combining history (both established and revisionist), grand mythmaking (and myth puncturing), adventure, melodrama, behind-the-scenes dish, spectacular visuals, and a down-to-earth sense of humour, The Right Stuff chronicles NASA's efforts to put a man in orbit. Such an achievement would be the first step toward President Kennedy's goal of reaching the moon, and, perhaps most important of all, would win a crucial public relations/morale victory over the Soviets, who had delivered a stunning blow to American pride by launching Sputnik, the first satellite. The movie contrasts the daring feats of the unsung test pilots--one of whom, Chuck Yeager, embodied more than anyone else the skill and spirit of Wolfe's title--against the heavily publicised (and sanitised) accomplishments of the Mercury astronauts. Through no fault of their own, the spacemen became prisoners of the heroic images the government created for them in order to capture the public's imagination. The casting is inspired; the film features Sam Shepard as the legendary Yeager, Ed Harris as John Glenn, Dennis Quaid as "Gordo" Cooper, Scott Glenn as Alan Shepard, Fred Ward as Gus Grissom, Scott Wilson as Scott Crossfield, and Pamela Reed and Veronica Cartwright are superb in their thankless roles as astronauts' wives. --Jim Emerson
Feverish worlds such as espionage and warfare have nothing on the hothouse realm of ballet, as director Darren Aronofsky makes clear in Black Swan, his over-the-top delve into a particularly fraught production of Swan Lake. At the very moment hard-working ballerina Nina (Natalie Portman) lands the plum role of the White Swan, her company director (Vincent Cassel) informs her that she'll also play the Black Swan--and while Nina's precise, almost virginal technique will serve her well in the former role, the latter will require a looser, lustier attack. The strain of reaching within herself for these feelings, along with nattering comments from her mother (Barbara Hershey) and the perceived rivalry from a new dancer (Mila Kunis), are enough to make anybody crack and tracing out the fault lines of Nina's breakdown is right in Aronofsky's wheelhouse. Those cracks are broad indeed, as Nina's psychological instability is telegraphed with blunt-force emphasis in this neurotic roller-coaster ride. The characters are stick figures--literally, in the case of the dancers, but also as single-note stereotypes in the horror show: witchy bad mummy, sexually intimidating male boss, wacko diva (Winona Ryder, as the prima ballerina Nina is replacing). Yet the film does work up some crazed momentum (and undeniably earned its share of critical raves), and the final sequence is one juicy curtain-dropper. A good part of the reason for this is the superbly all-or-nothing performance by Natalie Portman, who packs an enormous amount of ferocity into her small body. Kudos, too, to Tchaikovsky's incredibly durable music, which has meshed well with psychological horror at least since being excerpted for the memorably moody opening credits of the 1931 Dracula, another pirouette through the dark side. --Robert Horton
One of Woody Allen's best-loved films, this won three richly deserved Oscars* (for Michael Caine, Dianne West and the screenplay) and is a joy from start to perfectly-judged finish. Hannah (Mia Farrow) is a devoted wife, loving mother and successful actress. She's also the emotional backbone of the family, and her sisters Lee (Barbara Hershey) and Holly (Dianne West) depend on this stability while also resenting it because they can't help but compare Hannah's seemingly perfect life with theirs. But with her husband Elliott (Michael Caine) becoming increasingly interested in Lee, it's clear that Hannah might have problems of her own. An unusually strong supporting cast includes Allen himself as Hannah's existentially-conflicted ex-husband and Max von Sydow as a perfectionist artist, but it's Caine who practically steals the film as a middle-aged man behaving like a lovesick teenager. It also has some of Allen's greatest one- liners, with a philosophical discussion about the nature of good and evil getting shot down with How should I know why there were Nazi's, I don't even know how the can opener works *Best Actor in a Supporting Role (Caine) *Best Actress in a Supporting Role (Wiest) *Best Writing, Screenplay, Written Directly for the Screen Product Features Theatrical Trailer
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