Intricately plotted and smartly paced, this gangster saga clicks as whodunit, social satire and explosive thriller. The piece is crowned by Bob Hoskins' career-making turn as a London mobster courting respectability and Helen Mirren's subtly detailed performance as his upper-crust mistress. Cockney wiseguy Harold Shand is a would-be burgher whose domination of the city's underworld stems from his shrewdness as a mediator and his skill at harnessing political and economic clout. As Easter approaches, he's poised to launch an aggressive real estate development scheme along the depressed Thames waterfront when all hell breaks loose: a trusted lieutenant is brutally murdered, Shand's mother is nearly killed in a car bombing, one of his pubs is blown apart and the visiting American don crucial to the pending deal is quickly growing wary.Barrie Keeffe's original screenplay keeps the viewer a step ahead of Shand, providing us with a telling but teasingly incomplete glimpse of the misstep by his underlings that has set chaos loose. At the same time, Keeffe underlines the bourgeois pretensions of the rough-hewn, barrel-chested Shand, how the elegant Victoria (Mirren) helps serve those ambitions and the myriad parallels between Shand's minions and the local politicians and police only too willing to join in his scheme. Tart, funny dialogue and alternately playful and pungent Eastertide imagery complete Keeffe's shrewd design--two key scenes, in a meat locker and a warehouse, invoke the Crucifixion itself. Even with lesser performances, the script and John Mackenzie's solid direction would make The Long Good Friday a keeper but Hoskins's explosive portrait of Shand and his descent toward brutal revenge elevates the film into the very front rank, earning admiring comparisons to TheGodfather, Scarface, GoodFellas and other classics of that genre. --Sam Sutherland
The Noo-noo is eating the tubby toast... chase him Teletubbies! Naughty Noo-noo! Uh-oh! The tubby custard machine is blowing bubbles pop pop! Tidy up Noo-noo! Dipsy watches Laa-Laa doing a lovely dance Po singing a special song and Tinky Winky doing a clever march!
In the savage and deadly world of the gangland king the man at the top is ruler only for as long as he controls everything in his territory. For that man the rewards can be infinite but so are the dangers. Harold Shand is enjoying the height of his powers and he is on the verge of something that would make his current 'arrangements' small fry. But stronger forces than even he can control have moved in and taken over. Climaxing in one long and bloody day of terror an Easter Good Friday he is to see his empire begin to crack and crumble.
The Teletubbies discover the joys of playing with the strange white 'snow' stuff.. Also includes a bonus 'Teletubbies Everywhere' episode.
Share the unique Teletubbies experience with this wonderful selection of Teletubbies footage designed to be you and your child's first steps into Teletubbyland. Discover more about Tinky Winky Dipsy Laa Laa and Po and why millions of children continue to love around the world. Also enclosed is a special guide for parents and carers created to provide a wide range of information about the rich content of Teletubbies and why it generates such a positive reaction from very young children.
Over the hills and far away lies the land where the Teletubbies live. Tinky Winky Dipsy Laa Laa and Po just love to dance. When the wind blows a magic windmill brings pictures from far away joining the Teletubbies to the world of the real children who also love to dance!
Like the hit album that inspires its name, Supernatural Live brings journeyman guitarist Carlos Santana back into the mainstream by surrounding him with younger superstars eager to bask in his formidable musical presence. Resuscitating stardom through sheer proximity can translate to forced pairings or superfluous music-making, but credit Santana himself with minimising such missteps: a fusion artist before the term was coined, the erstwhile Mexican street musician long ago extended his technical reach and broadened his stylistic palette by hungrily assimilating different styles of music. Accordingly, he shifts gears easily, whether soloing behind Dave Matthews, trading lines with legendary saxophonist Wayne Shorter, or spicing up a hip-hop excursion with Lauryn Hill. Santana justifiably taps into the late 90s breakout for Latin pop, hardly surprising in light of his early identification with "Latin-rock" via his 1968 recording debut. His early reworking of Tito Puente's classic "Oye Como Va" thus pops up as the set closer, while the concert kicks off with a frenetic, horn-powered "(Da Le) Yaleo", given added spectacle by a swaying corps of female dancers in feathered headgear. Elsewhere, the guitarist hosts a procession of the stars that added their marquee value to the Supernatural album, including Rob Thomas (the massive hit, "Smooth", here performed as a medley with "Dame Tu Amor") and Everlast. But a duet with label colleague Sarah McLachlan on "Angel" yields the concert's only anticlimax--on a ballad built from spare piano and a poignant lyric, Santana's innate taste leaves him little to contribute beyond a delicate tracery of classical guitar. Production values are excellent, with crisp camera work and sound mixing. A special remote camera, mounted on the neck of Santana's guitar, presents his intricate fretwork in nifty close-ups that are wisely held to just a few songs. --Sam Sutherland, Amazon.com
For the very first time Noo-noo stars in his very own DVD! Watch as he stretches Po's blanket and cleans up Twinky Winky's Tubby toast.
This special DVD combines original Teletubbies programmes with the new 10 minute treat-sized Teletubbies Everywhere. Teletubbies Everywhere is a comedy of first concepts - numbers colours shapes - bringing togther for the first time children from around the world speaking their own language. The teletubbies enjoy looking at their reflections in a mirror. Watch children take photographs of each other. Bright and colourful playful and affectionate the Teletubbies trusted format means that the youngest child can watch with understanding and laughter. Where's Laa Laa? Is that her bouncing ball? ... Later the Teletubbies have great fun when Dipsy makes some adjustments. Don't pull the lever again Dipsy!
More fun with the Teletubbies. Laa Laa is the only Teletubby that wants to play indoors and the custard machine isn't working.
An old, old story as told circa 1980, Breaking Glass, written and directed by Brian Gibson, follows the path of Stardust not to mention A Star is Born and most other films about showbusiness, by following the rise of a talented young hopeful who learns that success comes with strings. Kate Crowley (Hazel O'Connor) begins as a bleached New Wave ranter, fly-posting on the tube and yelling songs about dehumanisation over fascist chants in rowdy pubs, but ends up a stoned glam zombie dressed as a robot, packaging her anger for the benefit of corporate music biz baddies and retreating to a sanatorium. The plot may be familiar, but the film still works, thanks to persuasive central performances from O'Connor, who wrote her own songs and shows real acting muscle that sadly didn't lead to anything like a film career, and Phil Daniels as her hustling manager/boyfriend/conscience. The fine supporting cast includes Jon Finch and Jonathan Pryce as a Bond villain-style record producer and a deaf junkie sax player, with glimpses of later perennials such as Jim Broadbent and Richard Griffiths. Made and set at the start of the 1980s, it catches its times exactly: a "Rock Against 1984" outdoor gig that turns into a riot, a routine police harrassment of a band rehearsal, a power cut that transforms a concert into a before-its-time "unplugged" session. Credits trivia: the executive producer was Dodi al Fayed. On the DVD: A nice letterboxed transfer looks a bit soft and grainy--but that's the way it's supposed to be. The only extras are cribbed-from-the-IMDB filmographies, a trailer with a wonderfully unconvincing narration and an image gallery (posters, ads and stills). --Kim Newman
The TV series of the Canadian sketch comedy troupe that more often than not puts bizarre unique and insane twists in their skits.
Teletubbies and the SnowOne day, sparkly clouds appear over Tellytubby land. Soon, everything is covered in fluffy, white snow--including the Tubbies' favourite things--their ball, bag, hat and scooter. The chubby foursome are at first afraid, but soon get stuck into some serious snow games, including rolling snowballs, sliding down hillsides, making footprints and making a snow Tellytubby--even their goggle-eyed vacuum-cleaner, Noo-noo, gets covered from brush to wheels in it. Teletubbies and the Snow will particularly delight pre-schoolers just getting their first taste of a real winter, but children who have never seen snow will love the four short films of real-life children singing winter songs and celebrating the year-end, as well as the antics of Tinky Winky, Dipsy, Laa-laa and Po, giggly Sun Baby and a cast of hundreds of fluffy bunnies hopping around. --Alison JardineHappy Christmas From The TeletubbiesWhat better time than Christmas could there be for these four likeable, er, things? After all, like the children they really are, the Teletubbies find the whole procedure to be an endless source of wonderful surprises and exciting things to do. They get presents, of course, found with the tree which, in Teletubby Land, just mysteriously appears--exactly as it does to real children, of course (unless they're unfortunate enough to be awake when an effing-and-blinding adult is attempting to manoeuvre it into place). There's also some jolly footage of real children, including a suitably happy bunch choosing and decorating a real tree, and of course it's these sections of "outside broadcasting" which balance the caperings of the four plush poppets so well. Despite the festive theme, this needn't be a Christmas-only video; the whole world is wondrous for the Teletubbies' pre-school audience, so the occasion is perfectly presented as a part of that, no more and no less. --Roger Thomas
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