You can expect the unexpected when they play...""Charade!"" A young American in Paris (Audrey Hepburn) flees a trio of crooks who are trying to recover the fortune her late husband stole from them. The only person she can trust is a suave stranger (Cary Grant). A deliciously dark comedic thriller Stanley Donen's Charade dazzles with style and macabre wit to spare. Henry Mancini and Johnny Mercer were Oscar nominated for Best Original Song but lost out to Jimmy Van Heusen and Sammy Cahn's ""Call Me Irresponsible"" from the movie 'Papa's Delicate Condition'.
Gentlemen Prefer Blondes, Anita Loos' old story from the 1920s about a pair of single women in search of husbands, gets a makeover in Howard Hawks' 1953 musical. The remake stars Jane Russell and Marilyn Monroe as two friends who go to Paris looking for mates. The film is charged by Hawks's stylish snap, a famous set piece or two (Monroe descending that staircase while singing "Diamonds are a Girl's Best Friend"), Russell's wit and songs by Leo Robin and Jule Styne. The film may largely be a fluff project best remembered as a showcase for its leading actresses, but then Monroe and Russell rarely got such extended opportunities to prove that they were more than cinematic icons.--Tom Keogh, Amazon.com
Whoopi Goldberg returns in a gratuitous, poorly written sequel that contrives a reason to get her character back into Maggie Smith's convent. The "socially conscious" plot finds Goldberg being asked to relate to a bunch of street kids and pull them together into a choir. Since a bad guy is needed, the script grabs that old chestnut about a rich guy (James Coburn) preparing to close down the convent's school, and runs with it. The film is slow and unconvincing from start to finish, although co-stars Mary Wickes and Kathy Najimy get some good laughs, and the music is pretty spirited. --Tom Keogh
If you're going to submit yourself to a dazzling example of mainstream action, this thriller is as good a choice as any. Eraser is a live-action cartoon, the kind of movie in which Arnold Schwarzenegger can survive nail bombs, hails of bullets, an attack by voracious alligators ("You're luggage," he says, after killing one of the beasts), and still emerge from the mayhem relatively intact. Arnold plays an "eraser" from the Federal Witness Protection Program, so named because he can virtually erase the existence of anyone he's been assigned to protect. His latest beneficiary is an FBI employee (Vanessa Williams) who stumbled across a secret government group involved in the sale and export of an advanced weapon capable of shooting rounds at nearly the speed of light. Fantastic action sequences are handled with flair by director Charles Russell (The Mask), so it's easy to forgive the fact that this movie is almost completely ridiculous. --Jeff Shannon
Lucky for Eddie Murphy he got hold of the rights to this 1963 Jerry Lewis classic before Jim Carrey did. Murphy had a comeback of sorts with his Jeckyll-and-Hyde-derived fable of awkward chemistry professor Sherman Klump (Murphy), who discovers a potion that transforms him into the suave, cocky lady-killer Buddy Love (also Murphy). The big difference between the two versions is that Murphy's Sherman is not only a nerdy intellectual but is also grossly obese, which provides the opportunity for some hilarious digital transformation effects, as well as some gentle satire of our culture's attitudes toward fat people. As he did in the hit Coming to America, Murphy plays multiple roles, and the scenes at the Klump family dinner table, in which he plays everybody, are brilliantly funny. (Murphy won the National Society of Film Critics' award for best actor of 1996 for these performances.) Lewis based his Buddy Love on the 1960s ideal of cool exemplified by Sinatra and the Rat Pack; Murphy stumbles a bit by playing up the oily phoniness of his latter-day Love a little too soon, but for the most part The Nutty Professor represents a welcome return to form for Eddie Murphy. --Jim Emerson
The Great Escape (Dir. John Sturges 1963): One of the most ingenious and suspenseful adventure films of all time The Great Escape is a masterful collaboration between director John Sturges screenwriters James Clavell (Shogun) and W.R. Burnett and composer Elmer Bernstein. Based on a true story this film also stars Steve McQueen James Garner Charles Bronson and James Coburn. The Thomas Crown Affair (Dir. Norman Jewson 1968): Thomas Crown (Steve McQueen) is a lone wolf in chic clothing. He's a Boston tycoon who masterminds a daring bank job even though he doesn't need the money. What he needs is the thrill of the heist the adrenaline rush of not getting caught. Catching crooks is where insurance investigator Vicky Anderson (Faye Dunaway) comes in. She always gets her man. But this time she may be too much in love to give him up. McQueen and Dunaway are lovers and adversaries in a stylish cat-and-mouse thriller written by Alan R. Trustman and directed by Norman Jewison. Jewsion makes exciting use of split screen images as the action leaps from the boardroom to the boudoir the polo field to a glider cockpit. The Oscar winning Best Song (1968) ""The Windmills of Your Mind"" sets the perfect tone for the swirl of romance and intrigue... The Magnificent Seven (Dir. John Sturges 1960): Yul Brynner stars as one of seven master gunmen who aid the helpless farmers of an isolated village pitted against an army of marauding bandits in this rousing action tale based on Akira Kurosawa's classic Seven Samurai. Released in 1960 John Sturges' masterpiece garnered an Oscar nomination for Elmer Bernstein (for Best Score) and launched the film careers of Steve McQueen Charles Bronson Robert Vaughn and James Coburn. Sand Pebbles (Dir. Robert Wise 1966): It's the story of China a slumbering giant that rouses itself to the cries of its people - and of the Americans who are caught in its bloody awakening. It's the story of Frenchy (Richard Attenborough) a crewman on the USS San Pablo who kidnaps his Chinese bride from the auction block. Most of all it's the story of Jake Holman (Steve McQueen) a sailor who had given up trying to make peace with anything: including himself.
Major Dundee was Sam Peckinpah's first big-budget film and was also the first to be taken away and released in a shortened version. But now 40 years later most of the missing footage has been located and reinserted with the entire soundtrack remixed in 5.1 Dolby Digital and a completely new score composed. The new scenes complete the electrifying depiction of an oppressive Union officer who leads a squad of Rebel prisoners ex-slaves and criminals into Mexico to hunt down a band of murdering Apaches which raises the question: who represents a greater threat?
Newly deceased playboy Henry Van Cleve (Don Ameche) presents himself to the outer offices of Hades, where he asks a bemused Satan for permission to enter the gates of hell. Though the Devil doubts Henry's sins will qualify him for eternal damnation, Henry proceeds to recount a lifetime spent wooing and pursuing women, his long, happy marriage to Martha (Gene Tierney) not withstanding. Nominated for Academy Awards for best picture and director, Heaven Can Wait is an enduring cl...
Flint's back! In Action... In Danger... In the Virgin Islands... Where the Bad Guys... Are Girls! 007 is a great number. And Austin has his powers but nobody is really ""In Like Flint!"" He's back in the ultimate spy spoof this time going head-to-head with a group of wealthy and powerful female tycoons who have discovered a way to brainwash women through beauty salon hairdryers! And if that's not enough they then replace the President with their surgically reproduced clone a
Recreating the famous sea battle between the American fleet and the Imperial Japanese Navy, Midway finds director Jack Smight (Airport 1975) confidently handling epic battle scenes and a stellar cast which includes Charlton Heston, Henry Fonda, James Coburn, Glenn Ford, Hal Holbrook, Toshiro Mifune, Robert Mitchum, and Robert Wagner. Midway is presented here with a wealth of extras. Special Features: High Definition remaster Original mono and 2.1 Sensurround audio tracks Audio commentary with film historians Steve Mitchell and Steven Jay Rubin (2021) The Guardian Interview with Robert Wagner (1983): archival audio recording of the film and TV star in conversation with Joan Bakewell at the National Film Theatre, London They Were There! (1976): Charlton Heston presents this archival documentary featuring interviews with three combatants who survived the battle The Making of Midway' (2001): documentary short looking at the film's production Sensurround: The Sounds of Midway' (2001): a look at the film's use of the Sensurround audio system The Score of Midway' (2001): film composer John Williams discusses his work on the film Selected scenes from the extended TV version The Battle of Midway' (1942): Oscar-winning documentary directed by John Ford relaying the battle with footage shot by Navy cameramen New video essay by film historian Tag Gallagher on John Ford's acclaimed documentary Super 8 version: original cut-down home-cinema presentation Original theatrical trailer TV spots Radio spot Image gallery: promotional and publicity material New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Lee Pfeiffer and Dave Worrall, archival articles on the film and the events that inspired it, an overview of critical responses, and film credits Limited edition of 3,000 copies All extras subject to change
Best of enemies. Deadliest of friends. They are fast friends and worse foes. One is Billy the Kid (Kris Kristofferson) a law unto himself. The other is the law: Sheriff Pat Garrett (James Coburn) who once rode with Billy. Set to a bristling score by Bob Dylan (who also plays Billy's sidekick Alias) and with a `Who's Who' of iconic Western players Sam Peckinpah's saga of one of the West's great legends is now restored to its intended glory. For the first time since it left
Audrey Hepburn plays a Parisienne whose husband is murdered and who finds she is being followed by four men seeking the fortune her late spouse had hidden away. Cary Grant is the stranger who comes to her aid but his real motives aren't entirely clear--could he even be the killer? The 1963 film is directed by Stanley Donen but it has been called "Hitchcockian" for good reason: the possible duplicities between lovers, the unspoken agendas between a man and woman sharing secrets. Charade is nowhere as significant as a Hitchcock film but suspense-wise it holds its own; and Donen's glossy production lends itself to the welcome experience of stargazing. One wants Cary Grant to be Cary Grant and Audrey Hepburn to be no one but Audrey Hepburn in a Hollywood product such as this, and they certainly don't let us down.--Tom Keogh
Sister Act: A Hilariously Divine Comedy!"" -ABC Radio Network. Relive all the fun laughter and irresistible music of Sister Act - the inspired comedy hit that packed pews everywhere! Whoopi Goldberg stars as a sassy low-rent lounge singer forced to hide out from the mob in the last place anyone would ever look for her - a convent. While she's there her irreverent behavior attracts a flock of faithful followers and turns the nuns' tone-deaf choir into a soulful chorus of swin
'Shattered Homes' and 'Broken Dreams': 2 episodes previously aired on TV plus 'Secrets And The City' an exclusive DVD episode never to be seen on TV!
In Cross of Iron Sam Peckinpah weighs in on World War II from the German point of view. The result is as bleak, if not quite as bloody, as one expects from the director of The Wild Bunch, in part because this 1977 film was cut to ribbons by nervous studio executives. The assorted excerpts that remain don't constitute an exhilarating or even an especially thrilling battle epic. The war is grinding to a close, and veterans like James Coburn's Steiner are grimly aware that it's a lost cause. The battlefield is a death trap of sucking mud and barbed wire, and the German generals (viz., the martinet played by James Mason) seem to pose a bigger threat to the life and limbs of Steiner's men than the inexorable enemy. Not even Peckinpah's famous sensuous exuberance when shooting violence is much in evidence; the picture is a depressive, claustrophobically overcast experience. The bloody high (or low) point isn't a shooting; it's a wince-inducing de-penis-tration during oral sex. For a fun time with the men in (Nazi) uniform, try Das Boot instead. --David Chute, Amazon.com
Brilliant inventor Robert Sommerby is head of a research establishment that is engaged in a very special secret project: the development of robots. Far from the crude, lumbering, steelc-lawed automatons of sci-fi films, Robert's robots are humanoid in appearance and ultrasophisticated in design, with highly developed electronic brains, fast reflexes and smooth, natural movement. Naturally, there are personality clashes; Eric is Robert's most advanced robot, who thinks humans are quite disgusting with their revolting habits like eating, while K.T. (aka Katie) is big, strong, and very stupid - he has a tendency to walk through doors and is generally kept away from guests. The eccentric Robert encounters all sorts of problems - not least, the devious activities of Marken, head of an acquisitive electronics company, and his seedy private eye, Gimble, who will try anything to discover Robert's secret project. But he has his doting Aunt Millie and lovely fiancée Angela to help out, and he's just about tolerated by at least some of his robots - who are fair-minded enough to concede that he is, after all, only human! From Bob Block, the creator of Rentaghost, Roberts Robots stars John Clive as Robert and Magpie presenter Jenny Hanley as Angela, this release comprises all seven episodes of series one, originally transmitted in 1973.
Billion Dollar Brain (Dir. Ken Russell 1967): Ken Russell's big budget film is an adaptation of Len Deighton's novel a sequel to 'The Ipcress File' in which Michael Caine reprises his role as bespectacled British Intelligence officer Harry Palmer this time stumbling into a plot to overthrow the Soviet Communist regime using a supercomputer. But who is working for whom and will Harry live long enough to find out? Our Man Flint (Dir. Daniel Mann 1966): This comic send-up of James Bond films features Flint (Coburn) a secret agent who like Bond uses wacky contraptions to get himself out of sticky situations; and like Bond he's also habitually surrounded by beauteous babes. A deranged trio has devised a way to rule the world: by dictating the Earth's climate. Our man Flint is hired by ZOWIE (The Zonal Organization on World Intelligence Espionage) to suavely save the day. In Like Flint (Dir. Gordon Douglas 1967): A group of renegade women led by the lovely Helena. attempts to take over the world. When Flint's male ""allies"" try to double-cross Helena and seize power themselves only the amazing Flint can save the day.
Brilliant inventor Robert Sommerby is head of a research establishment engaged in a very special secret project: the development of robots. Far from the crude, lumbering, steel-clawed automatons of sci-fi films, Robert's robots are humanoid in appearance and ultra-sophisticated in design, with highly developed electronic brains, fast reflexes and smooth, natural movement. Naturally, there are personality clashes; Eric is Robert's most advanced robot, who thinks humans are quite disgusting with their revolting habits like eating, while K.T. (aka Katie) is big, strong, and very stupid - he has a tendency to walk right through doors and is generally kept away from guests. The eccentric Robert encounters all sorts of problems - not least, the devious activities of Marken, head of an acquisitive electronics company, and his seedy private eye, Gimble, who will try anything to discover Robert's secret project. But he has his doting Aunt Millie and lovely fiancée Angela to help out, and he's just about tolerated by at least some of his robots - who are fair-minded enough to concede that he is, after all, only human.
Eddie Murphy stars as Dr Sherman Klump a kind ""calorically challenged"" genetics professor who longs to shed his 400-pound frame in order to win the heart of beautiful Jada Pinkett. So with one swig of his experimental fat-reducing serum Sherman becomes ""Buddy Love"" a fast-talking pumped-up plumped-down Don Juan. Can Sherman stop his buff alter ego before it's too late or will Buddy have the last laugh?
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