The Sitter may be the last movie featuring the "heavy" version of Jonah Hill. With the many pounds he's since lost, many movie-industry minds are wondering if the Jonah Hill-ness of his screen persona, flaunted so prodigiously in the likes of Knocked Up, Get Him to the Greek, and Superbad, has disappeared from the scales too. But until Jonah 2.0 gets his chance, The Sitter couldn't capture his trash-talking, man-child, king-of-comeback essence more boldly, more lovingly, or with such blatant vulgarity. Hill plays Noah, a jobless twentysomething layabout still living with his divorced mum along with the delusion that he has a hot girlfriend (she only keeps him around for oral talents that are unrelated to speech). As a favour that might help Mum with her own sad love life, he agrees to a one-night babysitting stand for the neighbours and their three wildly dissimilar but equally messed-up children. The night progresses through slapstick, farce, adventure, romance, danger, pathos, and eventual catharsis for everyone. (Unfortunately there's a touch of maudlin, sentimental corn in the mix too.) The children are as important to the escapades as Noah and are the primary source of his stupid/smooth shtick that mixes clever put-downs, terrified jabbering, and hilariously relentless patter of urban slang vernacular. Noah's spoiled charges are two boys--an anxiety-wracked 13-year-old and a 10-year-old Nicaraguan adoptee with severe anger and pyromania issues--and a precocious 8-year-old-girl who's heavily into make-up, hip-hop, and a score of other age-inappropriate behaviours. As the four of them hurtle deeper into the night, the situations become more antically treacherous with drug dealers, gangster thugs, police officers, and upper-crust snobs as part of the mix, along with their knives, cocaine, diamonds, alcohol, and guns. Director David Gordon Green, whose unusual career has gone from art house (George Washington, All the Real Girls) to raunchy bromance (Pineapple Express, Your Highness), supplants formal technique with the off-kilter and oft-unseemly style of Jonah Hill vs. the world. Green sometimes evokes the flow of surreality that Martin Scorsese took to unnatural ends in After Hours, only with more dirty bits and a lot more full-on crude laughs. Nearly everyone in the large supporting cast makes an excellent foil for the star's constant streetwise riffing, especially Sam Rockwell, who digs in to his role as a psychotic but emotionally conflicted drug dealer always on the lookout for new best friends. But it is Jonah Hill who sits firmly, even heavily in the driver's seat. It's a great place to flash his better-honed actorly chops along with his beloved version 1.0 comedic gift. --Ted Fry
Cy Endfield cowrote the epic prequel Zulu Dawn 15 years after his enormously popular Zulu. Set in 1879, this film depicts the catastrophic Battle of Isandhlwana, which remains the worst defeat of the British army by natives--the British contingent was outnumbered 16-to-1 by the Zulu tribesmen. The film's opinion of events is made immediately clear in its title sequence: ebullient African village life presided over by King Cetshwayo is contrasted with aristocratic artifice under the arrogant eye of General Lord Chelmsford (Peter O'Toole). Chelmsford is at the heart of all that goes wrong, initiating the catastrophic battle with an ultimatum made seemingly for the sake of giving his troops something to do. His detached manner leads to one mistake after another and this is wryly illustrated in a moment when neither he nor his officers can be bothered to pronounce the name of the land they're in. That it's a beautiful land none the less is made clear by the superb cinematography, which drinks in the massive open spaces that shrink the British army to a line of red ants. Splendidly stiff-upper-lipped support comes from a heroic Burt Lancaster and a fluffy, yet gruff, Bob Hoskins. Although the story is less focused and inevitably more diffuse than the concentrated events of Rorke's Drift that followed soon after, Zulu Dawn is an unflinchingly honest depiction of British Imperial diplomacy. --Paul Tonks
The Sitter may be the last movie featuring the "heavy" version of Jonah Hill. With the many pounds he's since lost, many movie-industry minds are wondering if the Jonah Hill-ness of his screen persona, flaunted so prodigiously in the likes of Knocked Up, Get Him to the Greek, and Superbad, has disappeared from the scales too. But until Jonah 2.0 gets his chance, The Sitter couldn't capture his trash-talking, man-child, king-of-comeback essence more boldly, more lovingly, or with such blatant vulgarity. Hill plays Noah, a jobless twentysomething layabout still living with his divorced mum along with the delusion that he has a hot girlfriend (she only keeps him around for oral talents that are unrelated to speech). As a favour that might help Mum with her own sad love life, he agrees to a one-night babysitting stand for the neighbours and their three wildly dissimilar but equally messed-up children. The night progresses through slapstick, farce, adventure, romance, danger, pathos, and eventual catharsis for everyone. (Unfortunately there's a touch of maudlin, sentimental corn in the mix too.) The children are as important to the escapades as Noah and are the primary source of his stupid/smooth shtick that mixes clever put-downs, terrified jabbering, and hilariously relentless patter of urban slang vernacular. Noah's spoiled charges are two boys--an anxiety-wracked 13-year-old and a 10-year-old Nicaraguan adoptee with severe anger and pyromania issues--and a precocious 8-year-old-girl who's heavily into make-up, hip-hop, and a score of other age-inappropriate behaviours. As the four of them hurtle deeper into the night, the situations become more antically treacherous with drug dealers, gangster thugs, police officers, and upper-crust snobs as part of the mix, along with their knives, cocaine, diamonds, alcohol, and guns. Director David Gordon Green, whose unusual career has gone from art house (George Washington, All the Real Girls) to raunchy bromance (Pineapple Express, Your Highness), supplants formal technique with the off-kilter and oft-unseemly style of Jonah Hill vs. the world. Green sometimes evokes the flow of surreality that Martin Scorsese took to unnatural ends in After Hours, only with more dirty bits and a lot more full-on crude laughs. Nearly everyone in the large supporting cast makes an excellent foil for the star's constant streetwise riffing, especially Sam Rockwell, who digs in to his role as a psychotic but emotionally conflicted drug dealer always on the lookout for new best friends. But it is Jonah Hill who sits firmly, even heavily in the driver's seat. It's a great place to flash his better-honed actorly chops along with his beloved version 1.0 comedic gift. --Ted Fry
Peckham 1960 and the Trotters are all under one roof: Grandad Joan husband Reg and the teenage Del Boy (James Buckley). Things suddenly change however when ex-con Freddie Robdal (Nicholas Lyndhurst) appears. Joining this comedy drama are teenage versions of Only Fools and Horses favourites Boycie Trigger and Denzil.
Featuring all the episodes from series 1-4! Series 1: Allie Henshall and dependable husband Gavin Ferraday own a successful hairdressing business. They plan to expand to a second site accross the road but their dreams are shattered when Mia and her husband Finn beat them to it and open a rival salon... Series 2: After making her choice of Finn over her husband Gavin Allie returns to Manchester to find that Gavin is making the most of his newfound single life. As she
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
It was the sister ship of the infamous Titanic...and its final destiny was the same. Experience the true untold story of Britannic a tumultuous epic voyage of human passion courage and betrayal aboard an ill-fated ocean liner bound for a shattering demise. With the world at war an undercover British agent (Amanda Ryan) embarks the Britannic in search of a German spy believed to be on board to sabotage the ship. Posing as a governess the undercover agent finds herself falling in love with the ship's chaplain (Edward Atterton Man In The Iron Mask). In a stunning discovery the lovers suddenly find themselves enemies of war. And when a massive explosion deals a deathblow to the ship their battle becomes one for their own survival. With a dynamic international cast and story line that hosts a chilling tale of espionage politics and romance Britannic brings one of history's most devastating events to riveting new life.
Widely regarded as Roberto Rossellini's greatest achievement Journey to Italy was the culminating masterpiece of the Italian neo-realism and the film that inspired the French new wave. Voted as one of the Top 50 films ever made in the 2012 Sight and Sound Critics Poll this stunning restoration is finally released on Blu-ray for the first time as part of this Dual Format Edition. Ingrid Bergman (Notorious Stromboli) and George Sanders (All About Eve Rebecca) play Katherine and Alex Joyce an English married couple who travel to Italy to oversee the sale of a villa. Unused to each other's company the couple argue and quarrel as their differences in taste and temperament drive them to separation. Beautifully shot on location throughout Italy including the streets and museums of Naples the island of Capri and the ruins of Pompeii Journey to Italy was considered a masterpiece by many of the leading French new wave critics-turned-filmmakers. This long awaited restoration offers UK audiences a chance to rediscover a profoundly moving masterpiece. Special Features: Presented in both High Definition and Standard Definition Original Italian language version Alternative English language version Feature-length Laura Mulvey audio commentary Extensive booklet with essays and film notes
Marina (Demi Moore), a blonde Southern belle with a clairvoyant streak, sees signs--a shooting star with two tails, a snowglobe that washes up on the beach, a wedding band inside of a fish--telling her that her true love is about to come ashore. And soon enough, a boat lands on the beach in front of her home; only the guy inside is a stout butcher from New York City named Leo (George Dzundza). Still, portents are portents, and the next thing you know she's married and running barefoot around a butcher's shop in Greenwich Village, where she inspires various residents with her predictions. Leo, however, is frightened by his wife's abilities and encourages her to see Alex (Jeff Daniels), a psychiatrist who works across the street. To placate him, she does--and soon begins to suspect that she's misread her signs and married the wrong man. The Butcher's Wife could use a little more humour about Marina's powers (her pronouncements are dizzyingly earnest) but the movie is buoyed up by a fantastic supporting cast, particularly Margaret Colin as a soap opera actress, Frances McDormand as a lesbian dress shop owner and Mary Steenburgen as a dowdy church choir leader who just wants to sing the blues. Like Marina, you know what's going to happen but the cast manages to make getting there charming. --Bret Fetzer
A broken wand forces Sooty to stop his magic show. With Sweep stuck in the sawing-in-half box and Richard transformed into a chicken, Sooty must put things right if he's going to impress World Famous Magicians Paul Daniels and Debbie Magee...
Directed by Academy Award winner Sam Mendes, this funny and heartfelt film follows the journey of an expectant couple (John Krasinski and Maya Rudolph) as they travel the U.S. in search of the perfect place to put down roots and raise their family.
L.A.'s San Fernando Valley is the setting for this chaotic multi-plotted comedy thriller featuring a murderous insurance scam perpetrated by sadistic double-crossers a bumbling love-struck hit man a kidnapped gallstone-suffering art dealer a washed-up suicidal screenwriter a pair of burnt-out undercover cops and one of the best catfights ever filmed...
Mike Nichols directs this 1960s comedy drama starring Dustin Hoffman, Anne Bancroft and Katharine Ross. After graduating from college, Ben Braddock (Hoffman) returns to his wealthy parents' South Californian home unsure of what he wants to do next. Feeling pressurised to get on with his life, the young Braddock escapes into an aimless affair with Mrs Robinson (Bancroft), an older, married woman and friend of the family. The pair meet regularly, with neither expecting anything serious from the...
37 episodes of the Al Murray sitcom Time Gentleman Please.
The Best music and videos of Blur the archetypal indie/Brit-pop band. Tracklisting: 1. She So High 2. There's No Other Way 3. Bang 4. Popscene 5. For Tomorrow 6. Chemical World 7. Sunday Sunday 8. Girls And Boys 9. To The End 10. Parklife 11. End Of A Century 12. Country House 13. The Universal 14. Stereotypes 15. Charmless Man 16. Beetlebum 17. Song 2 18. On Your Own 19. M.O.R 20. Tender 21. Coffee And TV 22. No Distance Left To Run
Paula Wilcox Shaun Dingwall Phil Daniels Kellie Bright and James Buckley star in Rock & Chips It's Christmas 1960 and the Trotters are settling into their new flat in Sir Walter Raleigh House Peckham. Rodney is a babe in arms Reg is still drawing the dole and hard-working Joan is struggling to keep the family afloat after losing her jobs at the town hall and the cinema. A 16-year-old Del has left school and is exploring employment opportunities around the docks - including a nice line in selling 45s straight off the back of a boat from America - and Freddie Robdal has been temporarily detained in Wormwood Scrubs at Her Majesty's pleasure. Meanwhile Del who has been advised that slipping an engagement ring on a girl's finger can open up a whole new world of lustful opportunity has managed to get himself engaged to half of Peckham. But will any of his engagements lead to a trip up the aisle?
Three motorcycle couriers take an impromptu road trip out of the city and in to rural Wales.
Jean-Luc Godard's Sympathy For The Devil is an exhilarating provocative pastiche of a motion picture. While the focus of the film is on The Rolling Stones song after which the film is titled a series of abstract fictional vignettes in the second half of the film allows Godard to probe topics as diverse as Black Power pornography and the irony of interviewing celebrities. These extended sequences elevate the film above a simple portrait of the English rockers constructing a
The legendary computer game comes to life in this all-action sci-fi adventure.
From playful romantic comedies to variety extravaganzas, the British musical films of the 1930s offered audiences a source of much-needed escapism throughout the decade haunted by the Great Depression and the growing menace of war. Often adapting much-loved hits of the music hall as well as serving as vehicles for the era's composers, performers and band leaders, they showcased home-grown talent alongside some of Hollywood's most bankable stars. This ongoing, multi-volume collection makes av...
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