From Lam Nai-Choi, who made unhinged masterpieces The Seventh Curse and Riki-Oh: The Story Of Ricky, comes a film that, somehow, manages to be EVEN MADDER. An evil blob-like extraterrestrial has come to earth with nefarious intentions. Luckily some good aliens are on its trail: a man, a woman, and of course their fluffy black cat.With wonderful pre-CGI special effects (i.e. rubber galore) and some truly bonkers action (watch out for that cat!), The Cat is part horror, part sci-fi and all WTF? The sane and rational folks at 88 Films are proud to present your new favourite crazy movie.LIMITED EDITION RIGID SLIP CASE WITH NEW ARTWORK BY SEAN LONGMORELIMITED EDITION 40 PAGE PERFECT BOUND BOOKLIMITED EDITION PREMIUM ARTCARDBRAND NEW 2K RESTORATION FROM THE ORIGINAL NEGATIVEREMASTERED ORIGINAL CANTONESE MONOAURAL SOUNDTRACKNEWLY TRANSLATED ENGLISH SUBTITLESAUDIO COMMENTARY BY FRANK DJENG (NY ASIAN FILM FESTIVAL)BRAND NEW FILM INTERVIEW WITH WRITER GORDON CHANIMAGE GALLERY
By any rational measure, Alan Parker's cinematic interpretation of Pink Floyd's The Wall is a glorious failure. Glorious because its imagery is hypnotically striking, frequently resonant and superbly photographed by the gifted cinematographer Peter Biziou. And a failure because the entire exercise is hopelessly dour, loyal to the bleak themes and psychological torment of Roger Waters' great musical opus, and yet utterly devoid of the humour that Waters certainly found in his own material. Any attempt to visualise The Wall would be fraught with artistic danger, and Parker succumbs to his own self-importance, creating a film that's as fascinating as it is flawed. The film is, for better and worse, the fruit of three artists in conflict--Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerising film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters's alter ego--an alienated, "comfortably numb" rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters's autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It's a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. --Jeff Shannon
Frequently given short shrift as soft porn (which it is) and as mindless (which it isn't), director Adrian Lyne's follow-up to Flashdance (insert own joke here) is a thoughtful, smutty film about a bad sexual relationship. It follows the two-month affair between Elizabeth, an art-gallery dealer, and John, a Wall Street executive. The relationship spirals downward into raunchier sex (filmed, by the way, quite nicely) but principally is about two adults doing adult things but not acting anything like real adults. Attempts at actual human connection, about the longing to be "good", are present here and make this an above-average erotic film. Rourke is just honing his scumbag, bad-boy persona; but it doesn't overwhelm. At least there's lots and lots of Kim Basinger. --Keith Simanton, Amazon.com
Imagine if you could make anyone love you look more beautiful or punish your enemies just by casting a spell... Sarah is a a 17-year-old with a troubled past. Uprooted by her parents and moved to LA where she begins the final year at St. Benedict's Academy Sarah is a lonely stranger - until she meets a brigade of black lipstick and nails: Nancy Bonnie and Rochelle. These girls may never be in with the in-crowd - they're barely in with each other but recently they have bee
The surprise hit of 1995, this splendidly entertaining family film was nominated for six Academy Awards, including best picture, director, and screenplay, and deservedly won the Oscar for its subtly ingenious visual effects. Babe is all about the title character, a heroic little pig who's been taken in by the friendly farmer Hoggett (Oscar nominee James Cromwell), who senses that he and the pig share "a common destiny." Babe, a popular mischief-maker the Australian farm, is adopted by the resident border collie and raised as a puppy, befriended by Ferdinand the duck (who thinks he's a cockerel), and saves the day as a champion "sheep-pig." Filled with a supporting cast of talking barnyard animals and a chorus of singing mice (courtesy of computer enhancements and clever animatronics), this frequently hilarious, visually imaginative movie has already taken its place as a family classic with timeless appeal. --Jeff Shannon
Vince Vaughn and Ben Stiller dodge speeding balls in this comedy about an underdog local gym fighting off a takeover from a mammoth chain.
K-9: James Belushi stars as Thomas Dooley an unorthodox narcotics cop who teams with an independently minded police dog in this hilarious action-comedy. Headstrong Dooley is one step away from nailing a prominent socialite in a million cocaine bust. But branded as too crazy to partner with no one will work with him except Jerry Lee a superbly trained German Shepherd police dog with the best nose in the drug-busting business. The unconventional pairing pleases neither partner but after a series of shoot-outs stake-outs brawls and romantic misadventures they develop a grudging respect for each other. It's a heart-warming fast-footed adventure about an unlikely and unbeatable police team that will have you rooting for man's best friend. K-911: They may have lost a step or two but Detective Dooley (James Belushi) and his four-legged partner Jerry Lee are still fighting crime with their mix of heroics and hilarity. Now reluctantly partnered with a younger K-9 team: the beautiful detective named Welles (Christine Tucci) and her highly disciplined Doberman Zeus. K-9 PI: Detective James Dooley (Belushi) and his K-9 partner Jerry Lee are ready to retire from the police force. But before he can retire with his pension he must work as a P.I...
Filmed in VIDECOLOR [explosions, drum roll, music builds to a climax] and SUPERMARIONATION"! The opening sequence of Thunderbirds is itself a masterclass in Gerry Anderson's marionette hyperbole: who else would dare to make a virtue out of the fact that (a) the show is in colour and (b) it's got puppets in it? But everything about this series really is epic: Thunderbirds is action on the grandest scale, pre-dating such high-concept Hollywood vehicles as Armaggedon by 30 years and more (the acting is better, too), and fetishising gadgets in a way that even the most excessive Bond movies could never hope to rival. Unsurprisingly, it transpires that the visual effects are by Derek Meddings, whose later contributions to Bond movies like The Spy Who Loved Me and Moonraker echo his pioneering model work here.As to the characters, the clean-cut Tracey boys take second place in the audiences' affections to their cool machines--the real stars of the show--while comic relief is to be found in the charming company of Lady Penelope and her pink Rolls (number plate FAB1), driven by lugubrious chauffeur Parker, whose "Yes, milady" catch phrase resonated around school playgrounds for decades. (Spare a thought for poor old John Tracey, stuck up in space on Thunderbird 5 with only the radio for company.) The puppet stunt-work is breathtakingly audacious, and every week's death-defying escapade is nail-bitingly choreographed in the very best tradition of disaster movies. First shown in 1964 and now digitally remastered, Thunderbirds is children's TV that still looks and sounds like big-budget Hollywood.In this box set: All 32 episodes on eight discs, plus a bonus DVD featuring "The Thunderbirds Companion", an exclusive documentary with interviews and behind-the-scenes footage. --Mark Walker
The first theatrical film from the popular television series became the surprise hit of the 1998 holiday box-office crunch, trouncing the highly competitive kids market. The key ingredient to the Rugrats' success is the writing. Venturing into their first theatrical movie, the pals--including the intrepid nappie-wearing Tommy Pickles, the nervous Chuckie, the twins Lil and Phil, and the wonderfully prissy Angelica--garble English into funny prose ("I want those fugitives back in custard-y!") and use movie references in their fantasy life. The opening here is a dead-on spoof of Raiders of the Lost Ark. The big news for the movie is that Tommy gets a new baby brother, named Dylan (or Dil for short). The rest of the film has no real plot but is a series of adventures, as the clan gets lost in the forest riding an inventive Reptar wagon that is the 1990s equivalent of the car in Chitty Chitty Bang Bang. Parents search for the kids, the kids learn new lessons and everyone goes home happy. The Rugrats Movie is not as wildly appealing as A Bug's Life but is far goofier and wackier with its animation. There's also a tremendous sense of joy that is often missing from cartoons these days and the songs used in the film--from such diverse musicians as Busta Rhymes, Iggy Pop, Lisa Loeb, Lou Rawls, Beck and Devo--add to the fun. It's an acquired taste, but the creators' first efforts to take the 10-minute TV sketches into an 80-minute feature pay off. --Doug Thomas
Sonic the Hedgehog is also known as SatAM Sonic because it was originally aired in America in a Saturday morning slot. Based on the video game series of the same name this TV series broadcast in the USA from September 18th 1993 to December 3rd 1994 on the ABC network.The series is currently broadcast on UK television channels Pop and ITV2 after originally running on Channel 4 on Sunday mornings.
By any rational measure, Alan Parker's cinematic interpretation of Pink Floyd's The Wall is a glorious failure. Glorious because its imagery is hypnotically striking, frequently resonant and superbly photographed by the gifted cinematographer Peter Biziou. And a failure because the entire exercise is hopelessly dour, loyal to the bleak themes and psychological torment of Roger Waters' great musical opus, and yet utterly devoid of the humour that Waters certainly found in his own material. Any attempt to visualise The Wall would be fraught with artistic danger, and Parker succumbs to his own self-importance, creating a film that's as fascinating as it is flawed. The film is, for better and worse, the fruit of three artists in conflict--Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerising film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters's alter ego--an alienated, "comfortably numb" rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters's autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It's a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. --Jeff Shannon
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
Jim Carrey stars in this live action special effects extravaganza, adapted from the famous childrens book by Dr Seuss.
Thunderbirds Are Go followed the remarkable success of the Thunderbirds television series, bringing the three-dimensional puppet animation adventures of International Rescue to the big screen. Set in the 21st century, there is no attempt to explain the background story: as in the TV show International Rescue is a private family organisation who use hi-tech craft to rescue anyone in peril. Here it is the first manned flight to Mars which is in danger, as International Rescue foils a sabotage attempt at the launch, then race to avert disaster when the spaceship returns to earth. What could have made a 50-minute TV episode is expanded to feature length with Martian "rock monsters" and a surreal dream-sequence involving Alan Tracy, Lady Penelope and "Cliff Richard Jnr" & the Shadows, with a new song performed by the real Cliff and the Shadows. In the cinemas this was competing against another British children's TV SF spin-off, the equally colourful Daleks' Invasion Earth 2150AD, and would be followed by Thunderbird 6 (1968). Yet apart from more complex model work, a bigger orchestra and even bigger explosions, on TV this plays like a widescreen double-length episode. On the DVD: The mono sound is powerful, with Barry Gray's stirring music suffering intermittent distortion. Presented in anamorphic widescreen the picture is very good, with strong colours and only minimal grain, though the print does show occasional damage. Unfortunately the original extremely wide 2.74:1 Techniscope image is cropped to more conventional 2.35:1, to the extent that the careful compositions are noticeably damaged, which director David Lane refers to in his joint commentary with producer Sylvia Anderson (who also played Lady Penelope). 35 years after the event their commentary is packed with details of the filming process and full of information about the many problems of and solutions to making an animated feature. Both Anderson fans and budding animators will find this a real education. The original, rather battered, trailer is included, as are galleries of behind the scenes photos, promotional artwork and posters. Altogether it's rather FABulous. --Gary S Dalkin
Reversal of Fortune focuses on one of the most intriguing criminal trials of the 1980s, that of Claus von Bülow, who was accused of sending his rich wife Sunny into a permanent coma with an overdose of insulin. Director Barbet Schroeder, working from Nicholas Kazan's evocative, darkly humorous script, turns the story into both a look at the lives of rich folks with too much time on their hands and a whodunit, as lawyer Alan Dershowitz (Ron Silver) prepares to defend von Bülow (Jeremy Irons) in court. Irons won an Oscar for his spooky, knowing performance, which hints at depths of degeneracy without ever putting a dent in a veneer of bored elegance. The contrast between the hard-charging Dershowitz and his eager-beaver Harvard law students and the eternally languid von Bülow adds unexpected humour. --Marshall Fine
Richard Burton stars as successful novelist John Morlar who believes he has 'a gift for disaster' - the power to cause death and destruction through unconscious telekinesis. When Morlar is viciously assaulted and left for dead the night of the Moon Mission disaster and a jet crash police investigating the attack quickly turn to Morlar's mysterious therapist Zonfeld (Lee Remick) in the belief that there is a link between the assault and Morlar's disturbing complex...
A man who is possessed by evil and worships the devil breaks into people's houses and butchers the occupants. A cop sets out to find the Nightstalker... Based on the events in Los Angeles during the 1980s when serial killer Richard Ramirez terrorised the city.
When a woman's husband is murdered on a train, she's pursued by four mysterious men who believe she's hiding her husband's money from them and that they deserve a share of the loot.
Chuckie and the rest of the Rugrats gang travel to the Euroreptarland theme park in Paris, to help him find a new mommy.
Meet the United States' secret and most beautiful weapon in the fight against tyranny: Wonder Woman! Season 1 of 'Wonder Woman' (the Pilot movie and 13 regular episodes) retains the World War II era of the super heroine's early comic book adventures. Also captured is the exuberant tone of a comic book come to screen life as the warrior princess (empowered by her sense of a woman's worth and by the mysterious substance Feminum that's found only on her remote native isle) battle
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