Michael Powell lays bare the cinema's dark voyeuristic underside in this disturbing 1960 psychodrama thriller. Handsome young Carl Boehm is Mark Lewis, a shy, socially clumsy young man shaped by the psychic scars of an emotionally abusive parent, in this case a psychologist father (the director in a perverse cameo) who subjected his son to nightmarish experiments in fear and recorded every interaction with a movie camera. Now Mark continues his father's work, sadistically killing young women with a phallic-like blade attached to his movie camera and filming their final, terrified moments for his definitive documentary on fear. Set in contemporary London, which Powell evokes in a lush, colourful seediness, this film presents Mark as much victim as villain and implicates the audience in his scopophilic activities as we become the spectators to his snuff film screenings. Comparisons to Hitchcock's Psycho, released the same year, are inevitable. Powell's film was reviled upon release, and it practically destroyed his career, ironic in light of the acclaim and success that greeted Psycho, but Powell's picture hit a little too close to home with its urban setting, full colour photography, documentary techniques and especially its uneasy connections between sex, violence and the cinema. We can thank Martin Scorsese for sponsoring its 1979 re-release, which presented the complete, uncut version to appreciative audiences for the first time. This powerfully perverse film was years ahead of its time and remains one of the most disturbing and psychologically complex horror films ever made. --Sean Axmaker, Amazon.com
An Oscar winning film of a gripping study of alcoholism and love. Jack Lemmon and Lee Remmick star as Joe and Kirsten a couple who fall in love get married and have a baby. This happy family scene gradually changes as Joe's addiction casts an ever-increasing shadow over all their lives...
Clayton 'Wolf' Wolfson and his friend Lieutenant George Barwell have been hired by U.S. Colonel Stevens (who's in charge of the Omega Base Communications Operations) to blow a hole in a mountain adjacent to the Omega Base. The Army plans to open up an entrance to an unexplored cave system where they can set up a sonic tester to test communication abilities. Against Wolf's warning that the caves might not be safe Colonel Stevens starts sending down men and equipment. The first night in the cave a technician above ground hears a scream on the radio and then silence. When Wolf and the others go back into the cave the men are missing and the sonic tester is destroyed. Deep within the cave system. the rescue team find caves of breathtaking beauty but there is great danger which they cannot see ''- the one that is waiting for the right moment to attack...
The Work of Director Chris Cunningham, like the other volumes in the acclaimed Director's Series (Spike Jonze and Michel Gondry) offers a feast of visual ingenuity, with one major difference: unlike the relatively playful brightness of Jonze and Gondry, Cunningham wants to involve you in his nightmares. From the urban monstrosities of Aphex Twin's "Come to Daddy" to the limb-shattering weirdness of Leftfield's "Afrika Shox", Cunningham's music videos emphasise the freakish and the bizarre, but they are also arrestingly beautiful and otherworldly, as in the aquatic effects used for Portishead's "Only You", combining underwater movements with ominous urban landscapes. Some of Cunningham's shock effects are horrifically effective (his 'flex" video installation, excerpted here with music by Aphex Twin, is as disturbing as anything conjured by David Cronenberg), while others are cathartic or, in the case of Aphex Twin's "Windowlicker", outrageously amusing. And while the eerie elegance of Madonna's "Frozen" arose from a chaotic production, the signature work in this collection is clearly Björk's "All Is Full of Love", a masterfully simple yet breathtaking vision of intimacy involving advanced robotics and seamless CGI composites. In these and other videos, Cunningham advances a unique aesthetic, infusing each video and commercial he makes with a dark, occasionally gothic sensibility. That these frequently nightmarish visions are also infectiously hypnotic is a tribute to Cunningham's striking originality. --Jeff Shannon
Classic TV cartoon characters Rocky and Bullwinkle come to the big screen to battle their old foes, who have come across to the real world!
The 1976 Best Picture Award-winner Rocky has the look of a contemporary on-the-streets movie like Taxi Driver, but the heart of a fairytale. For the Bicentennial Year, world heavyweight champion Apollo Creed (Carl Weathers), a Muhammad Ali-like stars-and-stripes blowhard, cynically offers a title shot to an unknown over-the-hill Philadelphia club fighter, Rocky Balboa (Sylvester Stallone). Unlike the sequels, Rocky is a rare American sports movie to realise there's more drama and emotional resonance in losing than winning. The unique finale suggests that going the distance against the odds is more of a triumph than a conventional victory. Stallone, then an unknown as actor and writer, crafts the script to his own strengths--mumbling, Brando-like sincerity combined with explosive physicality expressed in his use of a side of beef as a punch-bag or wintery jogs around Philly. Surprisingly little of the film is taken up with ring action, as we follow Rocky's awkward courtship of pet-store minion Adrian (Talia Shire) and uneasy relationship with her slobbish brother (Burt Young), while Burgess Meredith provides the old pro licks as the curmudgeonly trainer. Though it led to a slick, steroid-fuelled franchise, it has a pleasing roughness, exemplified by the memorable funk/brass band score and the array of fidgety, credible method acting tics. On the DVD: 1.85:1 16x9 print, which represents the sometimes-slick, sometimes rough look of the cinematography; feature commentary with supporting cast and crew (Burt Young admits to rubbing vermouth into his neck to make himself repulsive), video interview with Stallone, a retrospective featurette (which includes news footage of the Ali fight that inspired the story), 8mm test fight footage with a flabbier Stallone, tributes to Burgess Meredith and cameraman James Crabe, trailers for Rocky and all the sequels (which makes a solid précis of the whole series). All this and a "special hidden feature" (a comic sketch with Sly meeting Rocky).--Kim Newman
Cannibal Holocaust is extremely well executed and is a powerful and thought-provoking as well as provocative piece of filmmaking, finally reassessed in this Shameless edition and given the fitting “Ultimate Cult Film” accolade it deserves.. A crew of four documentary filmmakers disappears while filming primitive cannibal tribes deep in the Amazonian rain forest; the horrific footage they shot is then found by a second expedition who will discover the horrific real reason for the demise of the four filmmakers.. Special Features:Introduction to the film by director Ruggero Deodato, Ruggero Deodato on the Animal Edit; long version of the film (only 14 secs cut which has been seamless replaced by reaction shots), and, for the first time ever, the director’s own edit of the film reducing the on-screen violence to animals whilst preserving the jaw-dropping, gut-wrenching impact of the film. Interview of Ruggero Deodato & Karl York & Francesca Cirdi; specially commissioned documentary by Cine Excess and critical analysis featuring critics such as Kim Newman etc.; Easter Egg & Shameless Trailer Park
Arnold Schwarzenegger wages an all-out war against an unstoppable enemy in this pulse-pounding action thriller - now in spectacular 3D for the first time ever! On a rescue mission deep within a Central American jungle a team of U.S. commandos find themselves hunted by a terrifying creature more powerful and deadly than any on Earth... because the Predator is not of this Earth.
The official action-packed and personal story of Britain's greatest ever World Superbike racer. Champion Fogarty features the full interactive video biography licensed by Carl Fogarty in which his inspiring story unfolds through extensive race and interview footage. Follow his progress from his early British TT and NW200 races to the World Superbike series; see him in action at Daytona; join him in the paddock at Hockenheim and check out how competitive he can be as an off-road biker.
Julian Rosefeldt's film Manifesto (2016) pays homage to the moving tradition and literary beauty of artistic manifestos, ultimately questioning the role of the artist in society today. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogma 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers. Passing the ideas of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Sturtevant, Sol LeWitt, Jim Jarmusch, and other creators through his lens, Rosefeldt has edited and reassembled thirteen collages of artists' manifestos. Performing these new manifestos' as a contemporary call to action, while inhabiting thirteen different personas among them a school teacher, a puppeteer, a newsreader, a factory worker and a homeless man Academy Award winner Cate Blanchett imbues new dramatic life into both famous and lesser-known words in unexpected contexts. Rosefeldt's film reveals the performative component and the political significance of these declarations. Often written in youthful rage, they not only express the wish to change the world through art but also reflect the voice of a generation. Exploring the powerful urgency of these historical statements, which were composed with passion and conviction by artists many years ago, Manifesto questions whether the words and sentiments have withstood the passage of time. Can they be applied universally? And how have the dynamics between politics, art and life shifted?
The Blue Max is a raging war time thriller featuring spectacular aerial combat sequences. It is the story of Bruno Stachel a cold ambitious German combat pilot in World War I. As brave as he is ruthless he excels in combat wins the highest medals The Blue Max and becomes a national hero. The Blue Max is among the best aviation films with outstanding photography spectacular dogfights and a dramatic score.
This is the pilot episode that launched the television series The Sweeney. Jack Regan is a good copper but his tough intuitive style is becoming unfashionable in a Scotland Yard seeking a new technocratic image. When a policeman is mysteriously murdered Regan breaks all the rules to find the killer but he finds there are men in the Flying Squad equally prepared to break him...
Available for the first time on DVD is the classics show headed by Carl Perkins the Godfather of rock 'n' roll along with a superstar cast recorded at London's Limehouse Studios in 1985. In a dazzling jam of rock giants the line up performs many of Carl's classic songs. These include Blue Suede Shoes Bobbin' The Blues Honey Don't Everybody's Trying To Be My Baby and Matchbox. Perkins the author of blue Suede Shoes in 1955 is a legend from the early days of rock 'n' roll but his influence spread into rock's next era. Tracklisting: 1. Boppin' The Blues 2. Cat Clothes 3. Honey Don't 4. Matchbox 5. Mean Woman Blues 6. Turn Around 7. Jackson 8. What Kind Of Girl 9. Everybody's Trying To Be My Baby 10. Your True Love 11. The World Is Waiting For The Sunrise 12. Medley 13. That's Allright Mama 14. Blue Moon Of Kentucky 15. Night Train to Memphis 16. Glad All Over 17. Whole Lotta Shakin' Goin' On 18. Gone all Down the Line 19. Blue Suede Shoes 20. Encore: Blue Suede Shoes with George Harrison on vocals
Available for the first time on DVD this is the classic show headed by Carl Perkins the Godfather of rock 'n' roll along with a superstar cast including Eric Clapton George Harrison and Ringo Starr recorded at London's Limehouse Studios in 1985.- Johnny Roy & Jerry Lee- Boppin' The Blues- Put Your Cat Clothes On- Honey Don't- Matchbox- Mean Woman Blues- Turn Around- Going To Jackson- What Kind Of Girl- Everybody's Trying To Be My Baby- Your True Love- Spoken Intro To Sunrise- The World Is Waiting For The Sunrise- Medley (That's Alright Mama/Blue Moon Of Kentucky/Night Train To Memphis).- Glad All Over- Whole Lotta Shakin' Goin' On- Gone All Down The Line- Blue Suede Shoes- Blue Suede Shoes (Encore)
The controversy that surrounded Stanley Kubrick's adaptation of Anthony Burgess's dystopian novel A Clockwork Orange while the film was out of circulation suggested that it was like Romper Stomper: a glamorisation of the violent, virile lifestyle of its teenage protagonist, with a hypocritical gloss of condemnation to mask delight in rape and ultra-violence. Actually, it is as fable-like and abstract as The Pilgrim's Progress, with characters deliberately played as goonish sitcom creations. The anarchic rampage of Alex (Malcolm McDowell), a bowler-hatted juvenile delinquent of the future, is all over at the end of the first act. Apprehended by equally brutal authorities, he changes from defiant thug to cringing bootlicker, volunteering for a behaviourist experiment that removes his capacity to do evil.It's all stylised: from Burgess' invented pidgin Russian (snarled unforgettably by McDowell) to 2001-style slow tracks through sculpturally perfect sets (as with many Kubrick movies, the story could be told through decor alone) and exaggerated, grotesque performances on a par with those of Dr Strangelove (especially from Patrick Magee and Aubrey Morris). Made in 1971, based on a novel from 1962, A Clockwork Orange resonates across the years. Its future is now quaint, with Magee pecking out "subversive literature" on a giant IBM typewriter and "lovely, lovely Ludwig Van" on mini-cassette tapes. However, the world of "Municipal Flat Block 18A, Linear North" is very much with us: a housing estate where classical murals are obscenely vandalised, passers-by are rare and yobs loll about with nothing better to do than hurt people. On the DVD: The extras are skimpy, with just an impressionist trailer in the style of the film used to brainwash Alex and a list of awards for which Clockwork Orange was nominated and awarded. The box promises soundtracks in English, French and Italian and subtitles in ten languages, but the disc just has two English soundtracks (mono and Dolby Surround 5.1) and two sets of English subtitles. The terrific-looking "digitally restored and remastered" print is letterboxed at 1.66:1 and on a widescreen TV plays best at 14:9. The film looks as good as it ever has, with rich stable colours (especially and appropriately the orangey-red of the credits and the blood) and a clarity that highlights previously unnoticed details such as Alex's gouged eyeball cufflinks and enables you to read the newspaper articles which flash by. The 5.1 soundtrack option is amazingly rich, benefiting the nuances of performance as much as the classical/electronic music score and the subtly unsettling sound effects. --Kim Newman
From the Producers of The Wedding Crashers comes Sports Movie a hilarious spoof comedy which tackles the most memorable scenes from your favourite sports movies. It's the story of Lambeau Fields an out-of-luck coach trying to lead a ragtag team of fumbling footballers to victory before his long-suffering wife leaves him and his sexy gymnast daughter gets bent out of shape!
A rich sportsman invites a number of guests to his house knowing that one of them is a werewolf. The film features a novel 'guess who' sequence at the end.
Enter the insane mind of a psycho-killer obsessed with recording on film the most intense fear as it registers on the faces of desirable women. His camera tripod is fitted with a long blade designed to penetrate victims through the neck. And while they watch their own deaths reflected in a mirror attachment he captures their last gasps on celluloid for his evil home movie collection.
A highly enjoyable sleeper, The Mighty Quinn is a variation on one of those 1930s studio pictures about two boyhood friends who grow up on different sides of the law. But it's 1989, and things are a bit different. Denzel Washington, smooth as Jamaican rum, plays the police chief of a Caribbean island, a place where crime isn't exactly a pressing concern. Thus the chief is put out when the clues in a murder case point to his old buddy, a dreadlocked ne'er-do-well played by a mischievous Robert Townsend. Director Carl Schenkel is much more interested in friendships and great island atmosphere than in the actual unlocking of the case, and that's just fine. Add in a bouncy soundtrack of reggae music, and The Mighty Quinn becomes one of those hard-to-resist vacation movies. --Robert Horton
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