Max Simkin (Adam Sandler) repairs shoes in the same New York shop that has been in his family for generations. Disenchanted with the grind of daily life, Max stumbles upon a magical heirloom that allows him to step into the lives of his customers and see the world in a new way. Sometimes walking in another man's shoes is the only way one can discover who they really are.
Fifteen years after John Carpenter squandered a great idea on a mediocre movie (Escape from New York), he does it again--this time on the Left Coast. Kurt Russell is back as the terminally cynical one-eyed action hero Snake Plissken who, this time, has been coerced into saving the world in Los Angeles. It's 2013 and L.A. is now an island maximum-security prison off the coast of California. Snake has 10 hours to find a doomsday weapon that's fallen into the hands of revolutionaries before he dies of a virus with which he's been injected. But the action is clumsy and unimaginative: lots of shootouts and very little suspense. Even the bad guys aren't particularly inventive; only Pam Grier, as a transsexual gang leader, strikes any sparks. Russell growls his way through the role but can only blame himself: He cowrote the script with Carpenter. --Marshall Fine
This 1998 testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) continued Hollywood's millennium-fuelled fascination with the destruction of our planet. There's no arguing that the successful duo understand what mainstream audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid-fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but, of course, lovable) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishising of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also try to lure the art-house crowd, raiding the local indie acting stable to populate the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humour and charisma. When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable female characters--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'". Sadly, she's a hell of a lot more developed and unpredictable than all the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? --Dave McCoy
Boardwalk Empire is an Emmy®-winning HBO drama series from Academy Award® nominee/Emmy® Award winner Terence Winter and Academy Award®-winning director Martin Scorsese. The series chronicles the life and times of Enoch Nucky Thompson, Atlantic City's czar at a time when Prohibition proved to be a major catalyst in the rise of organized crime in America.
Based on the succesful alternative graphic novel this tells the story of two girlfriends spending the summer after high school graduation together.
Riding the coat-tails of the early 1990's Western revival, the HBO television movie The Last Outlaw is a good, taut B-picture evoking the conventions of bigger and better Spaghetti Westerns of the 1960s and 70s. Set in New Mexico in 1873, from the opening bank robbery onwards the movie plays like The Wild Bunch meets High Plains Drifter, the obsessive, psychotic Colonel Graff (Mickey Rourke at his best) hunting down his own men after they refuse to abandon an injured comrade. Facing up to Graff is the impressively understated Dermot Mulroney as Eustis, a man who has seen too much killing and simply wants it to stop. Writer Eric Red spins some interesting variations on a classic Western set-up, delivering a comparable psychological intensity to his earlier The Hitcher (1986); as the story unfolds Graff becomes an avenging emissary of death, the tale assuming a timeless mythological resonance. Director Geoff Murphy stages what comes down to one long chase with considerable style, and while there's nothing here fans of the genre haven't seen many times before, in an age starved of Westerns that's actually a large part of the appeal. --Gary S Dalkin
Atlantic City February 1924: After barely surviving an overthrow by gangster Gyp Rossetti Nucky Thompson is laying low at the end of the Boardwalk. But the calm will be short-lived as Nucky faces new challenges including a clash with the mayor a battle with his brother Eli over Eli's college-age son and the irresistible lure of lucrative - and perilous - opportunities in Florida. Episodes Comprise: New York Sour Resignation Acres of Diamonds All In Erlkönig The North Star William Wilson The Old Ship of Zion Marriage and Hunting White Horse Pike Havre de Grace Farewell Daddy Blues
A sweet-natured, small-town guy inherits a controlling stake in a media conglomerate and begins to do business his way.
They were perfect strangers, assembled to pull off the perfect crime. Then their simple robbery explodes into a bloody ambush, and the ruthless killers realise one of them is a police informer. But which one? Critically acclaimed for its raw power and br
Scott (Pete Davidson) has been a case of arrested development ever since his firefighter father died when he was seven. He's now reached his mid-20s having achieved little, chasing a dream of becoming a tattoo artist that seems far out of reach. As his ambitious younger sister (Maude Apatow) heads off to college, Scott is still living with his exhausted ER nurse mother (Marisa Tomei) and spends his days smoking weed, hanging with the guysOscar (Ricky Velez), Igor (Moises Arias) and Richie (Lou Wilson)and secretly hooking up with his childhood friend Kelsey (Bel Powley). But when his mother starts dating a loudmouth firefighter named Ray (Bill Burr), it sets off a chain of events that will force Scott to grapple with his grief and take his first tentative steps toward moving forward in life. Over 2 1/2 hours of Bonus Features including: Feature Commentary with Director/ Co-Writer Judd Apatow and Actor/Co-Writer Pete Davidson Alternate Endings (Which Didn't Work!) Deleted Scenes Gag Reel Line-O-Rama The Kid From Staten Island Judd Apatow's Production Diaries You're Not My Dad: Working with Bill Burr Margie Knows Best: Working with Marisa Tomei Friends with Benefits: Working with Bel Powley Sibling Rivalry: Working with Maude Apatow Best Friends: Working with Ricky, Moises, & Lou Papa: Working with Steve Buscemi Friends of Firefighters Stand-Up Benefit Scott Davidson Tribute The King of Staten Island Official Trailer Who is Pete Davidson? The Firehouse Pete's Casting Recs Pete's Poppy (Grandpa) Video Calls
Atlantic City 1922: The Roaring '20s are about to begin in earnest and despite a booming economy alcohol is scarce and gangster violence is heating up. Amidst this backdrop Nucky Thompson (Steve Buscemi) whose marriage to Margaret has become a sham after she signed away his highway windfall to the church faces the challenge of mending old relationships. Nucky also encounters new competition from a hair-trigger gangster who builds a strategic bulkhead between New York and Atlantic City in an effort to siphon off Nucky's alcohol business. The conflict brings out the best and worst in Nucky as new and familiar faces undergo compelling metamorphoses within the third season of this Golden Globe and Emmy Award-winning series.
Ewan McGregor goes on the run after he discovers an awful truth in this dark-edged sci-fi tale.
Author Michael Crichton and director Philip Kaufman had a falling-out over the script for Rising Sun, based on Crichton's best-selling novel (which was controversial for its take on the Japanese invasion of American business in the early 1990s). Kaufman ultimately won, doing an above-average job creating a murder-mystery based on the culture clash between Los Angeles cops and Japanese multinational business interests. When a prostitute is murdered at the opening of a new LA headquarters for a Japanese company, detective Wesley Snipes is forced to call upon retired cop (and Japanophile) Sean Connery to help solve the murder. But he runs into obstruction from the Japanese, as well as a high-tech cover-up, while having to deal with anti-Japanese sentiments from people on his own team. Rising Sun is intriguing, if overlong. --Marshall Fine, Amazon.com
Mike Wazowski and James P. Sullivan are an inseparable pair, but that wasn't always the case. Monsters University unlocks the door to how Mike and Sulley overcame their differences and became the best of friends.
Adam Sandler leads an all-star comedy cast as a troupe of former college friends discover that growing older doesn't mean growing up.
""Sometimes there's a man well he's the man for his time and place. He fits right in there. And that's the Dude. The Dude from Los Angeles. And even if he's a lazy man - and the Dude was most certainly that. Quite possibly the laziest in all of Los Angeles County which would place him high in the runnin' for laziest worldwide. Sometimes there's a man sometimes there's a man. Well I lost my train of thought here. But... aw hell. I've done introduced it enough."" - The Str
Compiled from McCartney's two concert tours of North America in 2002, Back in the U.S. is chiefly a "selective" biographical film of Macca on tour. Unlike the CD of the same name, which is made up of full-length versions of the songs performed on the tour, the DVD features only excerpts. Presenting the legend and those around it in a somewhat superficial light, the film is as much a tribute to the Heather-reinvigorated McCartney as to his music. There's plenty of footage of the new Mrs McCartney accompanying Paul on his marathon of television and radio interviews; band and crew members pipe on about how much of an honour it is to work with McCartney; and fans' of all ages gush hysterically about how amazing it is to see the star perform live. After sitting through three hours of such material, you can't help wishing that something would go wrong. The set-list includes Beatles favourites, tunes by Wings and selected numbers from McCartney's solo back catalogue. Realising the audience's obvious taste for nostalgia, the film mixes shots of the wild contemporary audience with footage of tearful, screaming fans from 40 years earlier. While the songs and audience reactions remain the same, the most touching moment of the film is when Macca performs his tributes to Lennon ("Here Today") and Harrison ("Something"). On The DVD: Back in the U.S. appears to break all DVD capacity records. As well as the main feature, there's plenty of extra behind-the-scenes material and bonus songs. While the picture quality is satisfactory, the three audio soundtracks (including DTS Surround) more than compensate for any visual shortcomings. Playing the disc on a DVD-ROM drive allows access to a secret Back In The U.S. Web site--one of the most comprehensive bonus Web sites ever. Highlights include additional soundcheck clips, outtakes, music promos and extended performances from the show. --John Galilee
In October 1998 21 year-old Matthew Shepard was found savagely beaten tied to a fence and left to die in Laramie Wyoming. 'The Laramie Project' is the portrait of a town painfully forced to confront itself in the reflective glare of the national spotlight responding with love anger sympathy support and defiance...
They were perfect strangers, assembled to pull off the perfect crime. Then their simple robbery explodes into a bloody ambush, and the ruthless killers realise one of them is a police informer. But which one? Critically acclaimed for its raw power and br
King of New York is a low-budget crime thriller has the feel of a major blockbuster and owes its roots to the hard-edged crime movies of the 1930s. Christopher Walken stars as a drug kingpin who is released from prison and vows to use his position and influence--and criminal enterprise--for charitable means. But a core group of New York cops are all over him and his gang, determined to go to war, whatever the cost, to bring him down. Eventually his empire--headquartered at, of all places, Donald Trump's Plaza Hotel--crumbles under the weight of double-crossing and a body count of open warfare with the cops. This is one of the most stylish films of the last decade, with a strong supporting cast (including Lawrence Fishburne, Wesley Snipes, and David Caruso) and some truly enthralling set pieces, including a stunning car chase and gunfight across a rain-soaked Queensboro Bridge. The film's tongue-in-cheek, over-the-top style offsets its nihilism; and its riveting visuals will have audiences hooked from beginning to end. --Robert Lane
Please wait. Loading...
This site uses cookies.
More details in our privacy policy