"Actor: Daniel Lutz"

• We Were Here | DVD | (05/12/2011) from £7.89   |  Saving you £8.10 (102.66%)   |  RRP £15.99

  An edifying must-see that has received accolades at film festivals the world over, We Were Here is the first film to take a deep and reflective look back at the arrival and impact of a definitive chapter in a city's queer history. It explores how the inhabitants were affected by, and how they responded to, a calamitous epidemic.Though a San Francisco-based story, We Were Here extends beyond San Francisco and beyond AIDS itself. It speaks to our capacity as individuals to rise to the occasion, and to the incredible power of a community coming together with love, compassion, and determination.In the face of adversity they stood strong and united. This is their story.

• Something Wild | DVD | (06/01/2003) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £12.99

  That Jonathan Demme's Something Wild is compelling from first to last is down to the chemistry between Melanie Griffith (Lulu) and Jeff Daniels (Charlie). She's bad, trashy and into handcuffed sex with strangers in motel rooms: she even manages to look sexy in a black bobbed wig. He's Mr Ordinary, with suit and steady job and--apparently--a wife and kids. Lulu has him mesmerised from the very start, as she offers him a lift back to the office but instead drives to Pennsylvania for her high-school reunion, stealing from garages along the way. Passing Charlie off as her husband, they run into problems when she meets her real one--the greasy, violent Ray, recently out of jail (Liotta, superb here)--and Charlie bumps into a guy from his office. Ray is not about to give up Lulu and pursues the couple relentlessly back to New York, the chase culminating, inevitably, in violence. It's a most unlikely love story, but as Charlie discovers he's less of a grey man than we all first thought, and a softer side of Lulu is revealed, it seems possible that we could be looking at a happy ending. This is a film that seems as fresh today as when it first appeared and remains one of Demme's finest achievements. On the DVD: Something Wild is a pretty basic DVD package. There are no extras beyond the bog-standard trailer and scene-selection options. The picture quality itself is fine, though it's not as pristine as you'd find with more recent films. The spoken languages and subtitles are restricted to English and Spanish. --Harriet Smith

• My Amityville Horror | DVD | (28/10/2013) from £17.95   |  Saving you £-4.96 (N/A%)   |  RRP £12.99

  For the first time in 35 years child eyewitness Daniel Lutz recounts his version of the infamous Amityville haunting that terrified his family in 1975. His parent's story of their 28 days in the allegedly possessed house on Ocean Avenue went on to inspire a best-selling novel and subsequent film series that have both captivated and frustrated the public since their release. My Amityville Horror is a gripping documentary that details the struggle behind growing up as part of a world famous haunting and shows that while Daniel s facts may be other s fiction the psychological scars he carries are all too real.

• True Vengeance | DVD | (01/01/1900) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £4.99

  Kicked out of the military twelve years ago former U.S. Intelligence Officer Henry Griffin is forced back into action by the notorious Japanese Mafia known the world over as the Yakuza. Griffin is commissioned by the Yakuza to assasinate a senior a senior American businessman. To ensure success they have kidnapped his eleven year old daughter. Lt. Kimberley Wilson of Naval Intelligence is coupled with L.A.P.D. detective Bill Emory to search for the fugitive Griffin whom trhey believe has again betrayed his country by siding with the Yakuza.

• Tirez Sur Le Pianiste | DVD | (03/04/2006) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £19.99

  The opening of Shoot the Piano Player, François Truffaut's second feature film, is one of the signal moments of the French New Wave--an inspired intersection of grim fatality and happy accident, location shooting and lurid melodrama, movie convention and frowzy, uncontainable life. A man runs through deserted night streets, stalked by the lights of a car. It's a definitive film noir situation, promptly sidetracked--yet curiously not undercut--by real-life slapstick: watching over his shoulder for pursuers, the running man charges smack into a lamppost. The figure that helps him to his feet is not one of the pursuers (they've oddly disappeared) but an anonymous passer-by, who proceeds to escort him for a block or two, genially schmoozing about the mundane, slow-blooming glories of marriage. The Good Samaritan departs at the next turning, never to be identified and never to be seen again. And the first man--who, despite this evocative introduction, is not even destined to be the main character of the movie--immediately resumes his helter-skelter flight from an as-yet-unspecified and unseen menace. At this point in his career--right after The 400 Blows, just before his great Jules and Jim--the world seemed wide for Truffaut, as wide as the Dyaliscope screen that he and cinematographer Raoul Coutard deployed with unprecedented spontaneity and lyricism. Anything might wander into frame and become part of the flow: an oddball digression, an unexpected change of mood, a small miracle of poetic insight. The official agenda of the movie is adapting a noir-ish story by American writer David Goodis, about a celebrated concert musician (Charles Aznavour) hiding out as a piano player in a saloon. He's on the run as much as the guy--his older brother--in the first scene. But whereas the brother is worried about a couple of buffoonish gangsters, Charlie Koller is ducking out on life, love and the possibility that he might be hurt, or cause hurt, again. Decades after its original release, Shoot the Piano Player remains as fresh, exhilarating, and heartbreaking--as open to the magic of movies and life--as ever. --Richard T Jameson