The 1953 fast paced comedy finally makes it to DVD in a Special Collectors' edition.
The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star and fifth as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendours, of frontier life. During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. This is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T Jameson
Bruce Willis first starring vehicle was 1987s Blind Date, a Blake Edwards comedy in which the actor plays a yuppie set up on a blind date with a beautiful blonde (Kim Basinger). Everything goes swimmingly until Willis does what he was warned not to do: give the lady alcohol, which causes her to get entirely out of control. The one-note joke basically turns the film into a succession of set pieces in which Willis has to keep up with Basinger, bail her out of trouble, or get out of the way of her hot-headed former boyfriend (John Larroquette). Willis is fine, Basinger is impressively unhinged, Larroquette is hilarious, and Phil Hartman has a nice role as the friend who set up Willis evening from hell. The slapstick shtick is classic Edwards, but the film is not Edwards at his most inspired. Consider Blind Date the work of a good filmmaker in a holding pattern.--Tom Keogh, Amazon.com
Leslie Nielsen takes espionage less than seriously in the outrageously funny parody of the spy world! Secret agent WD- 40 (Nielsen) is assigned to foil the evil plan of his arch enemy General Rancor - a tyrannical madman who lost two limbs in an explosion and is now unarmed and dangerous! WD-40's mission is to save the world from destruction rescue the daughter of his former partner and of course do some ""undercover"" work with a sexy fellow agent (Nicollette Sheridan). Guided by a
Over four hours of gut-emptying side-splitting humour! Disc 1: All the episodes from the third series! 1. Scandinavia 2. Germany 3. Eastern Europe 4. Greece 5. Italy 6. Spain Disc 2: International relations Sanchez style; the unbroadcast story of the boyos! Over two hours of previously unbroadcast footage completely exclusive to this DVD!
Classic westerns collection of 3 Blu-ray discs starring Clint Eastwood in 1080p High Definition.
British films about sex are fairly rare, and mostly embarrassing: from the painfully anxious (Brief Encounter) to the hopelessly naff (the Carry On films). What a treat then is Rita, Sue and Bob Too, Alan Clarke's filming of a stage play by young Andrea Dunbar. It's an unsentimental, gleefully lewd comedy about shagging. Tagged for its cinema release in 1987 as "Thatcher's Britain with its knickers down", it even provoked a minor moral hullabaloo in the newspapers. Rita (Siobhan Finneran) and Sue (Michelle Holmes) are two giggly Bradford lasses stuck on a ramshackle housing estate. They keep themselves in fags by occasional baby-sitting for nouveau riche couple Bob (George Costigan) and Michelle (Lesley Sharp). Bob fancies himself rotten, but Michelle has ruled that sex is off the menu. So one night, driving Rita and Sue home, Bob detours to the Yorkshire moors and offers the girls a little something extra in his front seat. Rita and Sue decide to grab it while they can. Alan Clarke's cult following is founded on his bleak, brilliant films about violent young men (Scum, The Firm, Made in Britain). But Rita, Sue is a tribute to Clarkey's ribald sense of humour. It even sports a cameo from novelty pop-act Black Lace, performing their non-hit "Gang-Bang". Teenage debutantes Holmes and Finneran are terrific--just watch them dancing lustily around Bob's red leather sofa to Bananarama. In support, Clarke wisely cast skilled northern comedians like Patti Nicholls and Willie Ross, as Sue's foul-mouthed mum and dad. Amid the laughs, Clarke as usual doesn't stint from showing us the harsh, unlovely side of life. He shot the film on location at Bradford's Buttershaw estate, where Andrea Dunbar grew up and where, tragically, she died of a brain haemorrhage only a few years after the film's release. --Richard Kelly
During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendors, of frontier life. Though it's been honoured with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T. Jameson
Glittering stage numbers showcase a commanding Barbra Streisand as Dolly Levy a New York matchmaker who can find a mate for anyone. Anyone but herself that is. Determined to marry wealthy Walter Matthau she lures him out of Yonkers and sets about wooing him.
There is no conspiracy. Just twelve people dead. Alan J. Pakula's The Parallax View a superb conspiracy thriller about one man's paranoia that turns out to be total incredible fact ranks among the best movies of its kind. Warren Beatty is a news reporter who aong with seven others witnesses the assassination of a political candidate. When the other seven die in ""accidents"" the newsman begins to doubt the offiical position: that the lone madman was responsible for the crime. He imagines a sophisticated network of highly trained murderers. But his nightmares pale against the bizarre truth he uncovers.
Taking place on the last day of the Creeper's twenty-three-day feeding frenzy, as the skeptical Sargent Tubbs teams up with a task force hellbent on destroying the Creeper for good. The Creeper fights back in gory glory as its enemies grow closer than ever before to learning the secret of its dark origins.
For anyone who travels the congested roads of Britain these days the utterly delightful Genevieve will provoke a wistful, nostalgic sigh of regret for times gone by when there were no motorways, traffic jams were almost non-existent and friendly police motorcyclists riding classic Nortons (without helmets) cheerfully let people driving vintage cars race each other along country lanes. Even in 1953, Henry Cornelius gentle comedy must have seemed pleasingly old-fashioned, concerned as it is with the antics of two obsessive enthusiasts on the annual London to Brighton classic car rally. The principal quartet could hardly be bettered: though John Gregson is something of a cold fish as Genevieves proud owner, the radiant warmth of Dinah Sheridan as his long-suffering wife more than compensates. Kenneth More is ideally cast in the role of boastful rival enthusiast and Kay Kendall has possibly the best comic moment of all when she astonishes everyone with her drunken trumpet playing. Cornelius also directed Ealings Passport to Pimlico, so his sure eye for gently mocking and celebrating British eccentricities is never in doubt. The screenplay by (American writer) William Rose now seems like an elegy to a way of life long disappeared: the pivotal moment when Gregson stops to humour a passing old buffer about his love of classic cars comes from a vanished era of politeness before road rage; as does the priceless exchange between hotel owner Joyce Grenfell and her aged resident: "No ones ever complained before", says the mystified Grenfell after Gregson and Sheridan moan about the facilities, "Are they Americans?" asks the old lady, unable to conceive that anyone British could say such things. Genevieve is both a wonderful period comedy and a nostalgic portrait of England the way it used to be. On the DVD: the "Special Edition" version of Genevieve has a decent new documentary with reminiscences from Dinah Sheridan (still radiant), the director of photography and the films editor, who talk about the challenges of filming on location. Most treasurable of all, though, is legendary harmonica player Larry Adler, who remembers his distinctive score with much fondness and is not at all embittered by his Hollywood blacklisting, which meant he was denied an Academy Award nomination. Theres also a short piece on some of the locations used (which for economic reasons were mostly in the lanes around Pinewood studios), cast biographies and a gallery of stills. The 4:3 ratio colour picture looks pretty good for its age and the mono sound is adequate. --Mark Walker
The complete first series is now available in this superbly designed double pack. Extreme dark humour dangerous stunts and outrageous gags all caught on camera. The comic story of four best buddies testing the limits of their friendship as they unleash torture and abuse on each other in their pursuit of pain.
Dirty Sanchez 2: Jobs For The Boyos sees the return of the fearless and unhinged Welshmen Pritchard Dainton and Pancho and their partner in depravity Dan Joyce all of whom are intent on embracing any painful pastime or ill-advised adventure in the name of entertainment. Series 1 saw them rolling in stinging nettles play naked paintball and nail their genitals to a piece of wood. Series 2 goes to an even more dangerous realm...the workplace! 'It's just all gone downhill since Seri
This totally amazing boxset stars me Tracy Beaker in my complete story so far. Its brilliant - All my DVDs from series 1-5 plus 'The Movie Of Me'. There's loads of funny bits and a few sad bits too. One thing's for sure there's always tons of drama when I'm around. So check out my adventures now or else!
Contains unseen footage completely exclusive to this DVD: Joycey's Dark Side Dainton's Dark Side Pritchard's Dark Side Pancho's Dark Side The Dark Side.
The Sanchez boys bring their excruciating antics to a whole new level as they explore the Seven Deadly Sins.
Jeepers Creepers (2001) Siblings Trish and Darry Jenner accidentally discover an underground cavern full of damaged body parts and soon finds themseves running for their lives. They ask the police for help, but when two officers drive out to take a look at the cavern, they quickly become the victims of a supernatural assailant known as the Creeper. Trish and Darry then flee to the safety of a nearby house, but the Creeper is on their trail and refuses to let go. Jeepers Creepers 2 (2003) On a deserted highway, a school bus is carrying a basketball team and its cheerleaders back from a triumphant game. The bus breaks down on a lonely stretch of road and the thrill of victory is quickly replaced by terror, as the journey becomes a road trip to Hell. As the sun sets, the Creeper descends on the bus and picks off the athletes one by one, sniffing out his victims. Will any of them survive, or will they all provide the Creeper with another horrific helping of mouthwatering morsels, in this nervejangling horror? Jeepers Creepers 3 (2017) Set between the first and second films, Sgt Davis Tubbs (Brandon Smith) assembles a task force to destroy the Creeper once and for all while growing closer than ever before to learning the secrets of its dark origins, as the monster terrorizes a local farming community. The Creeper fights back in gory glory...
Dainton Pritchard and the rest of the boys are back for more stomach churning hi-jinks! Hot off the heels of making a movie that the split the reviewers right down the middle - Nuts magazine said ""hardcore genius"" The Daily mail said ""nincompoops"" Dirty Sanchez 4 - Behind the 7 sins will attempt to break down the boys experiences of making Dirty Sanchez the Movie taking us a little further into the minds that gave us such great cinematic moments as ""drinking Pancho's man fat"" and ""Pritchard cutting of his own little finger"". We will interview the boys to give us some added understanding to what happened on the world tour and roll these in with all the unseen stunts from the film plus the favourites from the film itself as we go Behind the Seven Sins.
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