Vince Lombardi High School keeps losing principals to nervous breakdowns because of the students' love of rock 'n' roll and their disregard of education. The putative leader of the students is Riff Randell who loves the music of the Ramones. A new principal the rock music hating Miss Evelyn Togar is brought in and promises to put an end to the music craze. When Miss Togar and a group of parents attempt to burn a pile of rock records the students take over the high school joined by the Ramones who are made honourary students. When the police are summoned and demand that the students evacuate the building they do so which leads to an explosive finale.
First broadcast in 1974, the ITV bedsitland sitcom Rising Damp was an instant and enduring success. It starred Leonard Rossiter as the miserly and lovelorn landlord Rigsby who is constantly needling young lodger Alan (Richard Beckinsale), a science student whose long hair and earrings are symptomatic to Rigsby of the parlous effeminacy of the modern age. He's also in love with Frances De La Tour's dowdy spinster Miss Jones, though his tentative advances are forever rebuffed. She in turn carries a torch for Philip (Don Warrington), the elegant son of an African chief who also resides at Rigsby Towers. Some aspects of Rising Damp have not aged well, principally Rigsby's stream of racist jibes at Philip. Although these were doubtless well-meant and supposed to illustrate Rigsby's foolish bigotry, you suspect that that was a convenient cover for audiences in the 1970s to enjoy racist humour. However, Rossiter's Rigsby--stuttering, stammering, bent perpetually over backwards--remains a great comic creation, embodying all the festering prejudices, small-mindedness and self-delusion of the lower middle class Little Englander. --David Stubbs
All 26 episodes from the second season of the classic US cop show, following the cases of wheelchair-bound chief of detectives Robert T. Ironside (Raymond Burr). Paralysed by a sniper's bullet, the San Francisco Police Department's top detective is now head of his own special unit, ably assisted by sergeant Ed Brown (Don Galloway), policewoman Eve Whitfield (Barbara Anderson), and African-American ex-con Mark Sanger (Don Mitchell). The episodes are: 'Shell Game', 'Split Second to an Epitaph: Part 1', 'Split Second to an Epitaph: Part 2', 'The Sacrifice', 'Robert Phillips Vs the Man', 'Desperate Encounter', 'I, the People', 'Price Tag: Death', 'An Obvious Case of Guilt', 'Reprise', 'The Macabre Mr. Micawber', 'Side Pocket', 'Sergeant Mike', 'In Search of an Artist', 'Up, Down and Even', 'Why the Tuesday Afternoon Bridge Club Met On Thursday', 'Rundown On a Bum Rap', 'The Prophecy', 'A World of Jackals', 'And Be My Love', 'Moonlight Means Money', 'A Drug On the Market', 'Puzzlelock', 'The Tormentor', 'A Matter of Love and Death' and 'Not With a Whimper, But a Bang'.
Mel Gibson stars in this hard hitting Vietnam War drama set against the backdrop of the first major battle between US and North Vietnamese forces.
Academy Award-nominee Don Cheadle ("Hotel Rwanda") and Guy Pearce ("Memento" "L.A.) star in "Traitor," a taut international thriller set against a jigsaw puzzle of covert counter-espionage operations.
Once again returning to the genre to which he was perhaps best-suited, director Lewis Milestone traces the fate of a Marine platoon during WWII. The film stars Richard Widmark as the no-nonsense Lt. Carl Anderson, an officer charged with the responibility of leading his unit on a scouting mission to capture prisoners from an experimental rocket-launching facility and bring them back for interrogation. Among his platoon are veterans Pidgeon Lane (Jack Palance), Doc (Karl Malden), and Sgt. Zelenko (Neville Brand), as well as raw recruits Coffman (Robert Wagner) and Cpl. Stuart Conroy (Richard Hylton). Anderson is skilled at subtly motivating the varied group of characters, while suffering himself from crushing headaches. The platoon attacks the island, taking losses on the heavily defended beach. When they try to take a strategic ridge, they're pinned down by rocket fire whose source is impossible to locate. In desperation, Anderson is ordered to take a hand-picked patrol behind enemy lines to bring back prisoners. After some painful losses, they finally return with prisoners. Despite occasional war movie cliches, this is a solid, exceptionally well acted effort, which gives full weight to the terrible human cost of war. The film is also notable for great performances by Malden, Palance, Widmark, Webb, and the very young Wagner.
Fantastical writer Gary Ross (Big, Dave) makes an auspicious directorial debut with this inspired and oddly touching comedy about two 90s kids (Tobey Maguire and Reese Witherspoon) thrust into the black-and-white TV world of Pleasantville, a Leave It to Beaver-style sitcom complete with picket fences, corner malt shop and warm chocolate chip cookies. When a somewhat unusual remote control (provided by repairman Don Knotts) transports them from the jaded real world to G-rated TV land, Maguire and Witherspoon are forced to play along as Bud and Mary Sue, the obedient children of George and Betty Parker (William H Macy and Joan Allen). Maguire, an obsessive Pleasantville devotee, understands the need for not toppling the natural balance of things; Witherspoon, on the other hand, starts shaking the town up, most notably when she takes football stud Skip (Paul Walker) up to Lover's Lane for some modern-day fun and games. Soon enough, Pleasantville's teens are discovering sex along with--gasp!--rock & roll, free thinking and soul-changing Technicolour. Filled with delightful and shrewd details about sitcom life (no toilets, no double beds, only two streets in the town), Pleasantville is a joy to watch, not only for its comedy but for the groundbreaking visual effects and astonishing production design as the town gradually transforms from crisp black and white to glorious colour. Ross does tip his hand a bit about halfway through the film, obscuring the movie's basic message of the unpredictability of life with overloaded and obvious symbolism, as the black-and-white denizens of the town gang up on the "coloureds" and impose rules of conduct to keep their strait-laced town laced up. Still, the characterizations from the phenomenal cast--especially repressed housewife Allen and soda-shop owner Jeff Daniels, doing some of their best work ever--will keep you emotionally invested in the film's outcome and waiting to see Pleasantville in all its final Technicolor glory. --Mark Englehart
More adventures with the Transformers as the Autobots continue their ceaseless battle against the evil Decepticons. Episode titles: Comrades Soldier Jungle Carnival.
Flintstone's Christmas Carol
A charming drifter returns to his ""home "" where he makes a desperate and very dangerous deal in order to reclaim his ex-girlfriend. When passion ignites into obsession a treacherous game of ""who can you trust?"" spins a deadly web of intrigue and murder - from which no one escapes unscathed.
When a young mother is murdered Sergeant Jack Reed sets out to find her killer. But the secret world of undercover operations rears its ugly head.
Weekend at Bernie's starts when two lowly clerks at an insurance agency uncover a $2 million fraud and report it to their boss, Bernie (Terry Kiser). Unfortunately for them, Bernie is the one behind the fraud and he invites them to his island beach house for the weekend, where he intends to have them killed by his mob contacts. Unfortunately for Bernie, the mob decides to rub him out instead--that's when the clerks, Richard (Jonathan Silverman) and Larry (Andrew McCarthy), arrive and discover Bernie's body. At first they panic and start to call the police but when a party of islanders sweeps in, Richard and Larry also discover that the local residents are so self-absorbed they don't notice that Bernie is dead. So if our heroes can just convince everyone that Bernie is still alive for the weekend, they can have a splendid time. Unfortunately, they also convince the mob hitman, who keeps trying to take Bernie out. Weekend at Bernie's was made at the height of 1980s fashion and features many amusing outfits and hairstyles--often the styles are funnier than the dialogue and the characters are tissue-paper thin. Still, there's no denying that the movie chugs along from bit to bit and never takes itself more seriously than it should, which is a cheerful, disposable piece of fluff. --Bret Fetzer
As long as there is a need for adolescent male sexual fantasy, there will be an audience for Heavy Metal. Released in 1981 and based on stories from the graphic magazine of the same name, this silly and senseless the movie is an aimless, juvenile amalgam of disjointed stories and clashing visual styles. Hundreds of animators from around the world were employed, resulting in a near-total absence of creative cohesion in the finished product. It remains, for better and worse, a midnight-movie favourite for the stoner crowd--a movie best enjoyed by randy adolescents or near-adults in an altered state of consciousness. With a framing story about a glowing green orb claiming to be the embodiment of all evil, the film shuttles through eight episodic tales of sci-fi adventure, each fuelled by some of the most wretched rock music to emerge from the late 1970s-early 80s period. The most consistent trademark is an abundance of blood-splattering violence and wet-dream sex, the latter involving a succession of huge-breasted babes who shed their clothes at the drop of a G-string. It's rampantly brainless desire to fuel the young male libido becomes rather fun, and for all its incoherence Heavy Metal impresses for the ambitious artistry of its individual segments. Produced by Ivan Reitman (who went on to direct Ghostbusters), the voice talents include several Canadian veterans of the Second City improvisation comedy troupe--including John Candy, Harold Ramis, Eugene Levy and Joe Flaherty--many of whom went on to greater fame on the US TV series Saturday Night Live. --Jeff Shannon DVD Special Features Feature-length Rough Cut with Optional Commentary by Carl MacEk, Production notes Theatrical trailer Documentary: Imagining Heavy Metal Art Galleries Deleted Scenes, Carl MacEk reading his book "Heavy Metal: The Movie" 1:85:1 widescreen anamorphic Dolby Digital 5.1
Every Which Way But Loose (Dir. James Fargo 1978): Clint Eastwood smashed box-office records as trucker Philo Beddoe the best bar-room brawler west of the Rockies who lives with a 165-pound orangutan named Clyde. With a fun country soundtrack and co-stars like Sondra Locke Geoffrey Lewis Beverly D'Angelo and the great Ruth Gordon it's in every which way possible a grand time for all. Any Which Way You Can (Dir. Buddy Van Horn 1980): They're back. Philo Beddoe th
When 10 year old Logan Fallon witnesses the brutal slaying of his family he vows to avenge the murders. Fifteen years later having developed into an awesome martial artist under the tutelage of his uncle (Chuck Norris) Logan ultimately has to make a decision between his passion for revenge or his commitment to justice...
Run aground during a fierce storm a group of passengers are forced to abandon ship. As the survivors (among them prisoners a prison guard and a criminal psychologist) struggle ashore they find themselves at an apparently deserted lighthouse. It's not long until they discover the headless corpses of the lighthouse keepers and they realise that the ship was also carrying a prisoner more dangerous than any of them - murderer Leo Rook (Christopher Adamson). Hunting them down one by
""By the power of Greyskull! I have the power!!!"" Enjoy 6 episodes of the classic cult cartoon as the prince of Eternia Adam hides his secret identity well for He-Man is the only person capable of standing up to the nefarious plans of the evil Skeletor...
Elvis: Films That Rock contains three of the King's early screen efforts: Love Me Tender (1956), Flaming Star (1960) and Wild in the Country (1961). It's pointless to suggest that they aren't among Elvis's best movies (you'll have to look elsewhere for King Creole and Jailhouse Rock, which probably are), partly because any fan's going to want them all anyway, but also because all three are interesting in their different ways. Love Me Tender, made in black and white in 1956, was Presley's first stab at acting, and this story of a family split by the American Civil War--one brother goes off to fight, the other doesn't--sees him short on screentime and being upstaged by pretty much everyone else. That said, it was a reasonably brave move for Presley to begin his movie career by dealing with this kind of subject matter, however sentimentalised. Four years later, Flaming Star took the steer by the horns with Presley portraying a young man of mixed parentage caught up in the ethnic conflict between Native Americans and the white race. Again, a brave choice of subject; this was a landmark movie insofar as it showed Presley certainly had enough acting ability to create a credible parallel career along the lines of, say, Sinatra. It wasn't to be, though, as even then his talents were being manipulated by others, which is why all his later movies--even the best ones--were little more than advertisements for his records. Wild in the Country, from the following year, saw Presley as a young tearaway who finds redemption in his talent for writing. It's pure melodrama, but the moralising is kept under control. This is a nice little collection, all in all, and an essential for any fan. On the DVD: Elvis: Films That Rock presents the three pictures in positively radiant transfers, which are absolutely gunge-free and make the very best of the beautifully stylised lighting and cinematography of the period, while the classic Cinemascope presentations translate perfectly into widescreen. Special features include trailers for all three movies. --Roger Thomas
Set in the Wild West era the worms are back in this hilarious roller-coaster of a prequel! When workers in the remote mining town of Rejection Nevada fall victim to an unseen predator the mine's owner Hiram Gummer (Michael Gross) hires a mercenary to destroy the carnivorous creatures before they swallow up his profits. What follows is an all-out assault that takes the battleground from deep in the earth to a suspense-filled showdown on the streets of Rejection! 'Tremors 4: Th
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