Although direct-to-video Disney sequels usually try to hide or simply ignore the issue, George of the Jungle 2 gleefully points out the lack of continuity between it and the original movie. Here, the good-natured narrator is happy to explain why Brendan Fraser has been replaced and why the special effects look cheaper: it's all a part of an effort to expand beyond the one-joke idea of a block-headed Tarzan who keeps swinging into trees. It's a pleasant surprise that all these self-referential nods and asides to the camera do indeed make hilarious viewing. Replacement Chris Showerman willingly takes on all manner of humiliation at the hands of CG jungle animals and his new extended family. George junior is the main by-product of the five-year gap, and thankfully has inherited brains from his mother's side (Julie Benz). In a dastardly plot to win back his love, Lyle (Thomas Haden Church, one of the few to reprise his role from the original) has the gang trooping back and forth to Las Vegas. With sight gags aplenty, bumbling George has more than just trees to avoid. --Paul Tonks
Howard Hughes with the assistance of Howard Hawks directed this racy version of the Pat Garrett vs Billy The Kid story. The publicity campaign surrounding the film's release was a masterpiece. Armed with stills of 19-year-old Jane Russell revealing a remarkable dcolletage (while stopping to pick up a pair of milk pails!) producer/director Howard Hughes spent tens of thousands of dollars purposely to agitate the censors and arouse public indignation. He released the film independently in San Francisco in 1943 after United Artists refused to distribute it; it was quickly closed down by civic groups. Meanwhile legendary publicist Russell Birdwell leased thousands of billboards from coast to coast for three years plastering a suggestive photo of the scantily clad Russell reclining on a bed of hay gun in hand. By 1946 when Hughes finally re-released the film audiences flocked to theatres: Jane Russell was now a Hollywood star and you can see why!
Bridget Jones' Diary: In the screen adaptation of 'Bridget Jones Diary' Helen Fielding's international best-selling phenomenon documentary filmmaker Sharon Maguire has managed a rare feat: a film as captivating as the novel! Bridget Jones (Renee Zellweger) is a pretty and neurotic thirtysomething singleton (in her vernacular) who vows to take control of her life after being humiliated by handsome standoffish barrister Mark Darcy (Colin Firth) at her parents' New Year's party. Determined to lose weight and cut back on vices like wine cigarettes and workaholic-alcoholic-misogynistic men Bridget begins a diary to chart her progress. Unfortunately the P.R. executive hits a snag when her boss gorgeous cad Daniel (Hugh Grant) instigates a sexy e-mail flirtation. Despite her tendency to bungle book launch parties and any situation involving the ever-disapproving Mark Darcy Bridget's winning combination of charm vulnerability and wit intrigues not only the seductively dangerous Daniel but also the arrogant barrister. Featuring a note-perfect performance by Zellweger a devilish one by Grant and the inspired casting of Firth (the object of Bridget's lusty fantasies in the book) 'Bridget Jones Diary' is a clever delightful romantic comedy guaranteed to please old fans and win new ones. Bridget Jones's Diary 2 - The Edge Of Reason: She's back! The perfect boyfriend the perfect life what could possibly go wrong? Four weeks into her relationship with Mark Darcy (Colin Firth) Bridget Jones (Renee Zellweger) is already becoming uncomfortable. With the reappearance of old flame daniel Cleaver (Hugh Grant) things are about to get very complicated...
Inspector Morse provides all the period cosiness of an Agatha Christie costume drama but in an apparently modern setting. Morse is a contemporary detective with all the nostalgic appeal of Poirot or Sherlock Holmes, an anachronistic throwback who drives a classic car, listens to Wagner on LP, quaffs real ale in country pubs or single malt at home and quotes poetry whenever occasion arises (at least once or twice an episode). His much put-upon sidekick Segeant Lewis (Kevin Whateley) is the bemused ordinary copper who acts as a foil for his artistic and academic passions, and not incidentally allows the writers to explain any possibly obscure or learned references to the TV audience. With plots of crossword puzzle-like intricacy, top-drawer thespian guest stars, loving views of quintessentially English Tourist Board Oxfordshire countryside and literate screenplays from such luminaries as Malcom Bradbury, the show was a sure-fire hit across middle England.In 1994, after four successful series, John Thaw moved on to other projects (initially, the disastrous A Year In Provence) but always left the door open for more Morse. "The Remorseful Day" is, however, positively his final appearance. The story opens dramatically with a montage of kinky sex and murder, before settling down into a leisurely exploration of leads that might or might not be red herrings. More murders follow, naturally, as the story adds yet more twists. But this time things are different: Morse, on the very eve of retirement, is gravely ill. Convalescing at home he consoles himself with bird watching and a newly acquired CD player, but he is more than usually irritable and relations with Lewis, who is impatiently awaiting his own promotion to Inspector, are strained. Could Morse himself be the murderer? Certainly Chief Superintendent Strange (James Grout) is worried. The ultimate resolution of the case takes second place to the show's finale, which will be no surprise to anyone who has read Colin Dexter's novel. A poignant and dignified end to the casebook of a much-loved detective.On the DVD: This disc also includes a 96-minute appreciation of the Morse phenomenon, "Rest in Peace", presented by James Grout who plays Chief Superintendent Strange in the series, plus a music video of the Morse theme tune, "Yesterday is Here". --Mark Walker
The Devil's Advocate In this modern gothic fable Keanu Reeves plays eager Lomax and Al Pacino is the charismatic firm founder who knows there are cases to be won and souls to be lost. Lomax's life wife (Charlize Theron) and soul are on the line. He's landed a job that's Heaven on Earth...which can lead him straight to hell! Murder By Numbers Sandra Bullock ""redefines the female detective genre"" as Cassie Mayweather a homicide investigator who puts her career in jeo
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
The Manchurian Candidate (Dir. Jonathan Demme 2004): When his army unit was ambushed during the first Gulf War Sergeant Raymond Shaw (Liev Schreiber) saved his fellow soldiers just as his commanding officer Major Ben Marco (Denzel Washington) was knocked unconscious. Brokering the incident for political capital Shaw eventually becomes a vice-presidential nominee while Marco is haunted by dreams of what happened or indeed didn't happen in Iraq. Searching for peace from
A Mind To Kill: The Pilot Movie
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and storylines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep down, sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whately's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter said he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
Although the superhero comic book has been a duopoly since the early 1960s, only DC's flagship characters, Superman and Batman (who originated in the late 1930s) have established themselves as big-screen franchises. Until now--this is the first runaway hit film version of the alternative superhero X-Men universe created for Marvel Comics by Stan Lee, Jack Kirby and others. It's a rare comic-book movie that doesn't fall over its cape introducing all the characters, and this is the exception. X-Men drops us into a world that is closer to our own than Batman's Gotham City, but it's still home to super-powered goodies and baddies. Opening in high seriousness with paranormal activity in a WW2 concentration camp and a senatorial inquiry into the growing "mutant problem", Bryan Singer's film sets up a complex background with economy and establishes vivid, strange characters well before we get to the fun. There's Halle Berry flying and summoning snowstorms, James Marsden zapping people with his "optic beams", Rebecca Romijn-Stamos shape-shifting her blue naked form, and Ray Park lashing out with his Toad-tongue. The big conflict is between Patrick Stewart's Professor X and Ian McKellen's Magneto, super-powerful mutants who disagree about their relationship with ordinary humans, but the characters we're meant to identify with are Hugh Jackman's Wolverine (who has retractable claws and amnesia), and Anna Paquin's Rogue (who sucks the life and superpowers out of anyone she touches). The plot has to do with a big gizmo that will wreak havoc at a gathering of world leaders, but the film is more interested in setting up a tangle of bizarre relationships between even more bizarre people, with solid pros such as Stewart and McKellen relishing their sly dialogue and the newcomers strutting their stuff in cool leather outfits. There are in-jokes enough to keep comics' fans engaged, but it feels more like a science fiction movie than a superhero picture. --Kim Newman
Rio Grande was the last and least memorable of John Ford's famous cavalry trilogy (following Fort Apache and She Wore a Yellow Ribbon), but it none the less maintains an interesting continuity about the gentlemanly rules of military conduct. Here the focus is on the family. While creating a heated controversy over his handling of the Apache war, John Wayne must also contend with disgruntled wife Maureen O'Hara and estranged son Claude Jarman Jr, a new recruit trying to earn his father's love and respect. Ford suggests that there are two conflicting codes of honour in every cavalry officer's life, the personal as well as the professional, and that it takes an act of heroism to maintain both. It's fascinating to observe Wayne's progression throughout the trilogy, as his personal stakes intensify. This is the first of five onscreen appearances between the Duke and O'Hara, each filled with a competitive spirit and stormy sexuality. --Bill Desowitz, Amazon.com
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and storylines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep down, sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whately's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter said he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
The second chapter to the terrific remake of the cult classic 'Randall & Hopkirk (Deceased)' stars Vic Reeves and Bob Mortimer as the dead detective and his hapless but very much alive partner. Mad ghosts mummified bodies experiments that mysteriously change a person's gender; nothing it seems is beyond the perlexing world inhabited by super-sleuth characters Jeff Randle and Marty Hopkirk aided and abetted by ghost-busting glamour girl Jeannie (Emilia Fox) and Hopkirk's mentor Wyvern (Tom Baker). This release features the complete second series of 'Randall & Hopkirk (Deceased)'. Episodes comprise: Whatever Possessed You?: Jeff and Jeannie are hired to investigate goings on at a hotel that is supposed to be haunted. Jeff has a disbelief in ghosts until Marty re-appears and gives Jeff back his memories of Marty being a ghost. Revenge Of The Bog People: Jeff's ex-fianc''e Freya Cargill asks him to re-open investigations into the death of her Egyptologist father. Jeff and Jeannie head for the museum where he worked and meet some of the strange staff who work there. O Happy Isle: Jeff and Jeannie are hired to investigate the apparent suicide of a young gay man on the remote island of Strait Isle in Scotland the inhabitants of which are starting to show some bizarre character traits. Painkillers: At the request of Bulstrode and Lacey Jeff and Jeannie pose as doctors to investigate activities at a secret underground pain-research laboratory. Marshall & Snellgrove: Jeff and Jeannie are hired to investigate what is happening at the home of an eccentric family. But so are their arch-rivals Marshall & Snellgrove another firm of private detectives... The Glorious Butranekh: When the baby of their secretary Felia is kidnapped by the sinister Butranekh Cult Jeff and Jeannie investigate some unpleasant goings on in Latvia. Two Can Play That Game: Jeff and Jeannie investigate an empty department store where a crook's love of playing games has reached lethal extremes. But Jeff and Marty's relationship has reached such a nadir that Marty is cast adrift in Rhadamanthus-On-Sea.
Contains some of Brando's finest but lesser known performances: Burn The Formula Bedtime Story The Men One Eyed Jacks (also directed by Brando). Burn (Dir. Gillo Pontecorvo 1969): (English - Dolby Digital (1.0) Mono / Fullscreen) Manipulative English mercenary Sir William Walker (Marlon Brando) is posted to a Portuguese colony in the Caribbean. Once there he uses his skills to engineer a slave revolt as part of his calculated plans for the English to seize control of t
Two episodes from the popular TV detective series. The Dead Of Jericho Morse who never quite finds romance thinks that at last things will turn out differently when he meets beautiful Anne Stavely. But it is a love destined not to be when Anne is found hanging from a beam in mysterious circumstances. Morse suspects murder and sets out to discover the truth. Joining him is Sergeant Lewis and their investigation into 'The Dead Of Jericho' is the beginning of a lasting partn
The outrageous tale of a Morrissey fan gone wrong! An obsessed Morrissey fan bides her time by pouring herself into her work at a TV studio by day and hunting for her idol at night. Scouting out locations in L.A. that she knows Morrissey has been spotted in she soon happens upon her hero in the flesh irrevocably changing her life forever...
Guy Ritchie Writer/Director of 'Lock Stock and Two Smoking Barrels' delivers another awe-inspiring directorial masterpiece. 'Snatch' is an edgy and hilarious film about a diamond heist gone wrong a colourful Irish gypsy turned prizefighter and a very temperamental dog. In the heart of gangland two novice unlicensed boxing promoters Turkish (Jason Statham) and Tommy (Stephen Graham) get roped into organising a bare-knuckled fight with local kingpin villain and fellow boxing pro
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
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