Cars fly, trees fight back and a mysterious elf comes to warn Harry Potter at the start of the second year of his amazing journey into the world of wizardry. This year at Hogwarts, spiders talk, letters scold and Harry's own unsettling ability to speak to snakes turns his friends against him. From dueling clubs to rogue Bludgers, it's a year of adventure and danger when bloody writing on a wall announces: The Chamber of Secrets has been opened. To save Hogwarts will require all of Harry, Ron and Hermione's magical abilities and courage in this spellbinding adaptation of J.K. Rowling's second book. Get ready to be amused and petrified as Harry Potter shows he's more than a wizard, he's a hero!
Rowan Atkinson's irredeemably wicked Edmund Blackadder has moved forward in time from the court of Queen Elizabeth but a little down the social ladder. He's now butler to Hugh Laurie's congenitally stupid Prince Regent on the cusp of the 18th and 19th centuries, and if that wasn't bad enough he's still accompanied by Tony Robinson's dim-witted Baldrick, whose cunning plans never fail to make an impossible situation worse. Blackadder's desperate scheming and utter contempt for all he surveys hasn't changed, nor have the baroque complexities of the situations in which he becomes embroiled: from an anachronistic war of words with Dr Johnson (Robbie Coltrane relishing every syllable) to taking on the Scarlet Pimpernel at his own game, to fighting a duel with a psychopathic Duke of Wellington, Edmund's luck never seems to change. Richard Curtis and Ben Elton's sharp scripts have more fun with the period setting than ever before, as contemporary literary archetypes from Samuel Johnson to Jane Austen are ripe for lampooning. Howard Goodall's theme tune is updated to a glorious classical pastiche, while the extravagant costumes of the times hardly need altering to achieve the desired effect. The comedy is so good it seemed this could never be bettered, until Blackadder Goes Forth that is. --Mark Walker
In his 19th screen outing The World is Not Enough, Ian Fleming's super-spy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives--and blame them for squandering The World is Not Enough's initial promise by the final reel. By now, Bond pictures are as elegantly formal as a Bach chorale, and this one opens on an unusually powerful note. A stunning pre-title sequence reaches beyond mere pyrotechnics to introduce key plot elements as the action leaps from Bilbao to London. Pierce Brosnan undercuts his usually suave persona with a darker, more brutal edge largely absent since Sean Connery departed. Equally tantalising are our initial glimpses of Bond's nemesis du jour, Renard (Robert Carlyle), and imminent love interest, Elektra King (Sophie Marceau), both atypically complex characters cast with seemingly shrewd choices and directed by the capable Michael Apted. The story's focus on post-Soviet geopolitics likewise starts off on a savvy note, before being overtaken by increasingly Byzantine plot twists, hidden motives and reversals of loyalty superheated by relentless (if intermittently perfunctory) action sequences. Bond's grimmer demeanour, while preferable to the smirk that eventually swallowed Roger Moore whole, proves wearying, unrelieved by any true wit. The underlying psychoses that propel Renard and Elektra eventually unravel into unconvincing melodrama, while Bond is supplied with a secondary love object, Denise Richards, who is even more improbable as a nuclear physicist. Ultimately, this world is not enough despite its better intentions. --Sam Sutherland, Amazon.com On the DVD: There are three different documentaries on this disc, as well as a "Secrets of 007" featurette that cuts between specific stunt sequences, behind-the-scenes footage and storyboards to reveal how it was all done, and a short video tribute to Desmond Llewelyn ("Q"), who died not long after this movie was released. The first "making of" piece is presented by an annoyingly chirpy American woman and is aimed squarely at the MTV market (most fascinating is watching her interview with Denise Richards in which the two orthodontically enhanced ladies attempt to out-smile each other). "Bond Cocktail" gamely distils all the essential ingredients that make up the classic Bond movie formula--gadgets, girls, exotic locations and lots of action. Most interesting of all is "Bond Down River", a lengthy dissection of the opening boat chase sequence. Director Michael Apted provides the first commentary, and talks about the challenges of delivering all the requisite ingredients. The second commentary is less satisfactory, since second unit director Vic Armstrong, production designer Peter Lamont and composer David Arnold have little in common. There's also the Garbage song video, and the booklet has yet more behind-the-scenes info. The anamorphic CinemaScope picture and Dolby digital sound are as spectacular as ever. --Mark Walker
Harry returns for his second year at Hogwarts School of Witchcraft and Wizardry along with his best friends Hermione and Ron. He ignores warning s not to go back to Hogwarts by a mysterious house elf named Dobby. Soon into the school year strange things start happening...
Daniel Ocean recruits one more team member so he can pull off three major European heists in this sequel to Ocean's 11
To try and please all the fans of JK Rowling's novel was a challenge that the makers of Harry Potter and the Philosopher's Stone met head on. The result of their efforts is one of the most lavish, beautiful and magical cinematic treats to hit our screens in years. Director Chris Columbus and screenwriter Steven Kloves (thankfully with the help of Rowling herself) prove that although you can't translate everybody's reading of this much-loved book onto the cinema screen--maybe Fluffy was a bit more Fluffy in your imagination or Hagrid (superbly played by Robbie Coltrane) a little more giant-like--it is nevertheless possible to transfer Harry's adventures with fidelity as well as superb energy and excitement. If there is a downside it's that the performances of the child leads tends to verge on the Sylvia Young-tastic in places. Nonetheless, the three young stars are both likable and watchable, showing great potential to grow into the parts as the adventures continue. The main disappointment is the substantial cutting of the ghost scenes and what promised to be a fine comic turn by John Cleese as Headless Nick, though with more Potter films on the way the ghosts will surely assume their rightful prominence later. There are, of course, some areas of the story that may frighten smaller children--such as the entrance of the evil Voldemort--and undoubtedly for any true Potter fan that cinematic entrance cannot live up to the images created in their imagination. All in all, though, Harry Potter and the Philosopher's Stone is what it should be: an unmissable treat for the whole family. On the DVD: Harry Potter and the Philosopher's Stone really is a magical experience in this lavish two-disc set. Disc one offers the film in all its surround-sound glory along with trailers and links to the Harry Potter Web site, but, disappointingly, there's no commentary. Disc two is where the real wizardry can be found, with a vast and beautifully designed selection of special features. Entering the Great Hall a mysterious voice invites you to explore and find the secret hidden within (though it's frustrating that in some cases you have to re-enter the Hall after viewing a feature). Various options let you tour around Harry's world: from Diagon Alley to a virtual 360-degree tour of Hogwarts. The interactive component is excellent, with real thought having been put into ensuring that, instead of just the standard behind-the-scenes stuff, there is material aplenty to keep children and adults alike entertained for hours. Throughout the emphasis is on the disc's educational value: yes there are insights to be had from the film crew, but it's in the Classroom where you will find the real precious stones! --Nikki Disney "Widescreen" vs. "Full Screen" Widescreen preserves the original theatrical picture ratio of the film (Panavision 2.35:1), which will appear in "letterboxed" format on a normal TV screen. Full Screen (or "pan and scan") crops the theatrical picture to 4:3 ratio (i.e., 4 units wide by 3 units tall), which is the shape of a standard (non-widescreen) TV screen. There is no letterboxing, but up to a third of the original picture is lost.
Danny Champion Of The World (Dir. Gavin Millar 1989): In a small English town a widowed father and his son own and operate a gas station that rests on land coveted by a local developer. They must fight to keep their land and retain the traditional values they have come to live by against harsh government inspectors who are privately in league with the developer. The Witches (Dir. Nicolas Roeg 1990): Saving the world from witches is a tall order for a boy they've turn
You'll finding yourself rooting for this movie to take off in a sustained flight of comic inspiration, but it seldom does. It's too bad that it doesn't, given the casting, because both leads (Eric Idle and Robbie Coltrane) are capable of extreme funniness. Idle and Coltrane play a couple of low-level crooks who decide to get a piece of the action for themselves and abscond with the loot from a big score. But they're discovered before they can getaway and their only avenue of egress is into a convent. So they don habits and hide out by pretending to be nuns, teaching parochial school to budding young girls. Now think about the possibilities in that premise and anything you can think of is in the film (though Coltrane remains one of the funniest men alive). --Marshall Fine
A delightful family adventure based on a remarkable true story featuring amazing effects courtesy of Jim Henson's Creature Shop. Rene Russo stars as eccentric socialite Gertrude ""Trudy"" Lintz who adopts a baby gorilla into her already-bustling animal menagerie. Along with chimpanzees Maggie and Joe Buddy gets into all kinds of hilarious monkey business and proceeds to drive everyone bananas. .
Mona Lisa
Paul Finchley (Coltrane) is a cherished household name, one half of a much-loved comedy double act with a career that spans several decades. He's a bona fide national treasure until the day he receives a knock at the door. Faced with an accusation of long-past sexual offences, the life of this adored entertainer begins to unravel. Paul, and all those closest to him, are put under the intense pressure of the investigation and the merciless media circus that accompanies it, from his wife of 40 years Marie (Walters) and his troubled daughter Dee (Riseborough), to his manager and his loyal comedy partner, Karl (McInnerny). Throughout the investigation and criminal trial that follows, memories prove muddied, doubts flourish, loyalties are tested, and truths, half-truths and lies are all exposed. This powerful exploration of truth, memory, trust and family calls into question: how well do we really know those we love? The answer lies in a National Treasure.
Features the complete thirty-nine episodes from the ground-breaking comedy series.
To try and please all the fans of JK Rowling's novel was a challenge that the makers of Harry Potter and the Philosopher's Stone met head on. The result of their efforts is one of the most lavish, beautiful and magical cinematic treats to hit our screens in years. Director Chris Columbus and screenwriter Steven Kloves (thankfully with the help of Rowling herself) prove that although you can't translate everybody's reading of this much-loved book onto the cinema screen--maybe Fluffy was a bit more Fluffy in your imagination or Hagrid (superbly played by Robbie Coltrane) a little more giant-like--it is nevertheless possible to transfer Harry's adventures with fidelity as well as superb energy and excitement. If there is a downside it's that the performances of the child leads tends to verge on the Sylvia Young-tastic in places. Nonetheless, the three young stars are both likable and watchable, showing great potential to grow into the parts as the adventures continue. The main disappointment is the substantial cutting of the ghost scenes and what promised to be a fine comic turn by John Cleese as Headless Nick, though with more Potter films on the way the ghosts will surely assume their rightful prominence later. There are, of course, some areas of the story that may frighten smaller children--such as the entrance of the evil Voldemort--and undoubtedly for any true Potter fan that cinematic entrance cannot live up to the images created in their imagination. All in all, though, Harry Potter and the Philosopher's Stone is what it should be: an unmissable treat for the whole family. On the DVD: Harry Potter and the Philosopher's Stone really is a magical experience in this lavish two-disc set. Disc one offers the film in all its surround-sound glory along with trailers and links to the Harry Potter Web site, but, disappointingly, there's no commentary. Disc two is where the real wizardry can be found, with a vast and beautifully designed selection of special features. Entering the Great Hall a mysterious voice invites you to explore and find the secret hidden within (though it's frustrating that in some cases you have to re-enter the Hall after viewing a feature). Various options let you tour around Harry's world: from Diagon Alley to a virtual 360-degree tour of Hogwarts. The interactive component is excellent, with real thought having been put into ensuring that, instead of just the standard behind-the-scenes stuff, there is material aplenty to keep children and adults alike entertained for hours. Throughout the emphasis is on the disc's educational value: yes there are insights to be had from the film crew, but it's in the Classroom where you will find the real precious stones! --Nikki Disney "Widescreen" vs. "Full Screen" Widescreen preserves the original theatrical picture ratio of the film (Panavision 2.35:1), which will appear in "letterboxed" format on a normal TV screen. Full Screen (or "pan and scan") crops the theatrical picture to 4:3 ratio (i.e., 4 units wide by 3 units tall), which is the shape of a standard (non-widescreen) TV screen. There is no letterboxing, but up to a third of the original picture is lost.
Murderland (2 Discs)
First screened in 1993, Jimmy McGovern's Cracker was at once a variation on a familiar theme and a daring new departure from the run-of-the-mill cop show. Robbie Coltrane's Fitz is an independent criminal psychologist called in by the police to help them crack intractable cases, usually involving grisly serial murders. But like its Granada TV stablemate Prime Suspect, Cracker also delves deep into the main characters' personal lives, revealing a chaos of emotional entanglements that become increasingly inseparable from their professional duties. Robbie Coltrane's charismatic presence dominates: the contrast between Fitz's professionalism and his complete inability to diagnose his own psychological failings provides much of the show's dramatic impetus. His frequent interrogations of murder suspects are tour de force demonstrations of coolly analytical method shot through with biting humour. But his drunken, intemperate behaviour towards his wife and everyone else is a telling contrast of extremes, and one that creates dangerous resentment among his colleagues. Coltrane is supported by a strong cast that includes Barbara Flynn, Geraldine Somerville, Lorcan Cranitch (as the terrifyingly unstable DS Jimmy Beck), Christopher Eccleston, and a pre-Royle Family Ricky Tomlinson. McGovern's screenplays balance gritty, Manchester-based realism with splendidly mordant wit, making Cracker simply riveting viewing. On the DVD: This complete Cracker 10-disc box set contains all three series that ran from 1993-95. The feature-length episodes are: "The Mad Woman in the Attic", "Say I Love You", "One Day a Lemming Will Fly" (Series 1); "Be a Somebody", "The Big Crunch", "Men Should Weep" (Series 2); "Brotherly Love", "Best Boys", "True Romance" (Series 3); "White Ghost" (1996 special). --Mark Walker
Eric Idle and Robbie Coltrane team up for this bad boy comic burlesque, directed by Jonathan Lynn. Idle and Coltrane play Brian Hope and Charlie McManus, a pair of two-bit hoods who want to go straight, repulsed by the increasing reliance on guns and violence in their line of work. In thrall to vicious gangster Case Casey (Robert Patterson), the duo determine that their next job will be their last. When a large amount of money is extracted from a gang of Hong Kong drug dealers and it falls into the laps of Brian and Charlie, the two take off with the loot, with the Chinese Triad and Casey in relentless pursuit. When their car runs out of gas in front of a convent, Brian and Charlie run inside and disguise themselves as two of the ugliest nuns imaginable. Inside the convent, Brian and Charlie pass themselves off as nuns from a different order, assigned to the convent before leaving the country on missionary work. As the two men enjoy their undercover work with a collection of nubile nuns and coeds, the bad guys close in on their trail.
All 11 feature length 'Cracker' adventures in one box set! Robbie Coltrane leads an all-star cast in Jimmy McGovern's groundbreaking gritty drama as the uncompromising idiosyncratic Fitz a man whose psychological insight extends to everyone but himself. This DVD box set contains all eleven Cracker storylines. Episodes Comprise: 1. The Mad Woman In The Attic 2. To Say I Love You 3. One Day A Lemming Will Fly 4. To Be A Somebody 5. The Big Crunch 6. Men Should Weep 7. Brotherly Love 8. Best Boys 9. True Romance 10. White Ghost 11. Cracker
The filmed version of Harry Potter and the Philosopher's Stone, adapted from the wildly popular book by J.K. Rowling, stunningly brings to life Harry Potter's world of Hogwarts School of Witchcraft and Wizardry. The greatest strength of the film comes from its faithfulness to the novel, and this new cinematic world is filled with all the details of Rowling's imagination, thanks to exuberant sets, elaborate costumes, clever makeup and visual effects, and a crème de la crème cast, including Maggie Smith, Richard Harris, Alan Rickman, and more. Especially fine is the interplay between Harry (Daniel Radcliffe) and his schoolmates Ron (Rupert Grint) and Hermione (Emma Watson), as well as his protector, the looming Hagrid (Robbie Coltrane). The second-half adventure--involving the titular stone--doesn't translate perfectly from page to screen, ultimately because of the film's fidelity to the novel; this is a case of making a movie for the book's fans, as opposed to a transcending film. Writer Steve Kloves and director Chris Columbus keep the spooks in check, making this a true family film, and with its resourceful hero wide-eyed and ready, one can't wait for Harry's return. First sequels are the true test of an enduring movie franchise, and Harry Potter and the Chamber of Secrets passes with flying colors. Harry's second year at Hogwarts involves a darker, more malevolent tale (parents with younger children beware), beginning with the petrified bodies of several Hogwarts students and magical clues leading Harry, Ron, and Hermione to a 50-year-old mystery in the monster-laden Chamber of Secrets. House elves, squealing mandrakes, giant spiders, and venomous serpents populate this loyal adaptation (by director Chris Columbus and screenwriter Steve Kloves), and Kenneth Branagh delightfully tops the supreme supporting cast as the vainglorious charlatan Gilderoy Lockhart. At 161 minutes, the film suffers from lack of depth and uneven pacing, and John Williams's score mostly reprises established themes. The young, fast-growing cast offers ample compensation, however, as does the late Richard Harris in his final screen appearance as Professor Albus Dumbledore. Brimming with cleverness, wonderment, and big-budget splendor, Chamber honours the legacy of J.K. Rowling's novels. Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry and his third-year classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination, The Prisoner of Azkaban is a Potter-movie classic.
Like a roller coaster ready to fly off its rails, Van Helsing rockets to maximum velocity and never slows down. Having earned blockbuster clout with The Mummy and The Mummy Returns, writer-director Stephen Sommers once again plunders Universal's monster vault and pulls out all the stops for this mammoth $148-million action-adventure-horror-comedy, which opens (sans credits) with a terrific black-and-white prologue that pays homage to the Universal horror classics that inspired it. The plot pits legendary vampire hunter Van Helsing (Hugh Jackman) against Dracula (the deliciously campy Richard Roxburgh), his deadly blood-sucking brides, and the Wolfman (Will Kemp) in a two-hour parade of outstanding special effects (980 in all) that turn Sommers' juvenile plot into a triple-overtime bonus for CGI animators. In alliance with a Transylvanian princess (Kate Beckinsale) and the Frankenstein monster (Shuler Hensley), Van Helsing must prevent Dracula from hatching his bat-winged progeny, and there's so much good-humored action that you're guaranteed to be thrilled and exhausted by the time the 10-minute end-credits roll. It's loud, obnoxious, filled with revisionist horror folklore, and aimed at addicted gamers and eight-year-olds, but this colossal monster mash (including Mr. Hyde, just for kicks) will never, ever bore you. A sequel is virtually guaranteed. --Jeff Shannon
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