A Touch of Frost is one of Britain's most successful detective series and stars award-winning actor David Jason as Detective Inspector Jack Frost a policeman with a knack for attracting trouble. Set in the dreary town of Denton Frost approaches each case with his characteristic dry wit and a sense of moral justice.
NOT EVERYONE WHO RUNS A CITY IS ELECTED. Arguably maverick filmmaker Abel Ferrera's most accessible and explosive film, King of New York's status as an urban gangster classic is cemented by a magnetic, career-best central performance by Christopher Walken, as well as riveting support from Laurence Fishburne, Wesley Snipes, Giancarlo Esposito, Steve Buscemi and David Caruso. After years inside, drug lord Frank White (Walken) is fresh out of jail and back on the streets of New York City. Seeing himself as half Scarface, half Robin Hood, Frank and his enforcers brutally take back control of the city, turf by turf with starry dreams of using the millions to benefit the community and save a local hospital. Before Frank can fulfil his ruthless lust for power, though, he's got to get past the crooked cops determined to take him down, and the criminal competition that won't bend to his will. Still just as relevant and incendiary now as it was three decades ago, King of New York returns with guns blazing in this definitive special edition, including a new director-approved 4K restoration. 4K ULTRA HD SPECIAL EDITION CONTENTS New 4K restoration from the original negative by Arrow Films, approved by director Abel Ferrera and cinematographer Bojan Bazelli 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible) LPCM original stereo and remixed DTS-HD MA 5.1 surround audio options Optional English subtitles for the deaf and hard of hearing Audio commentary by director Abel Ferrera Audio commentary with composer Joe Delia, producer Mary Kane, casting director Randy Sabusawa and editor Anthony Redman Interview with director Abel Ferrera Interview with producer Augusto Caminito Abel Ferrera: Not Guilty, a documentary on the director from the French TV show Cinéastes de notre temps A Short Film About the Long Career of Abel Ferrera, a documentary looking back at the director's career, including interviews with his key collaborators Original theatrical trailers and TV spots Image gallery Reversible sleeve featuring newly commissioned artwork by Tracie Ching FIRST PRESSING ONLY: Illustrated collectors' booklet containing essays on the film by Iain Sinclair and Abel Ferrera biographer Brad Stevens
Linda Shirley and Bella are relaxing in the South African sunshine after fleeing to Rio De Janeiro using part of the proceeds from the robbery. Dolly their leader has already returned to London. The dark days of planning rehearsing and executing a dangerous raid seem far behind. Their criminal coup has made them rich beyond their wildest dreams. All the ties with the past have been severed. Life's a dream... until one man turns it into a nightmare!
Thunderbirds Are Go followed the remarkable success of the Thunderbirds television series, bringing the three-dimensional puppet animation adventures of International Rescue to the big screen. Set in the 21st century, there is no attempt to explain the background story: as in the TV show International Rescue is a private family organisation who use hi-tech craft to rescue anyone in peril. Here it is the first manned flight to Mars which is in danger, as International Rescue foils a sabotage attempt at the launch, then race to avert disaster when the spaceship returns to earth. What could have made a 50-minute TV episode is expanded to feature length with Martian "rock monsters" and a surreal dream-sequence involving Alan Tracy, Lady Penelope and "Cliff Richard Jnr" & the Shadows, with a new song performed by the real Cliff and the Shadows. In the cinemas this was competing against another British children's TV SF spin-off, the equally colourful Daleks' Invasion Earth 2150AD, and would be followed by Thunderbird 6 (1968). Yet apart from more complex model work, a bigger orchestra and even bigger explosions, on TV this plays like a widescreen double-length episode. On the DVD: The mono sound is powerful, with Barry Gray's stirring music suffering intermittent distortion. Presented in anamorphic widescreen the picture is very good, with strong colours and only minimal grain, though the print does show occasional damage. Unfortunately the original extremely wide 2.74:1 Techniscope image is cropped to more conventional 2.35:1, to the extent that the careful compositions are noticeably damaged, which director David Lane refers to in his joint commentary with producer Sylvia Anderson (who also played Lady Penelope). 35 years after the event their commentary is packed with details of the filming process and full of information about the many problems of and solutions to making an animated feature. Both Anderson fans and budding animators will find this a real education. The original, rather battered, trailer is included, as are galleries of behind the scenes photos, promotional artwork and posters. Altogether it's rather FABulous. --Gary S Dalkin
In a time when it seems that every other movie makes some claim to being a film noir, LA Confidential is the real thing--a gritty, sordid tale of sex, scandal, betrayal and corruption of all sorts (police, political, press--and, of course, very personal) in 1940s Hollywood. The Oscar-winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere and White Jazz)--a compelling blend of LA history and pulp fiction that has earned it comparisons to the greatest of all Technicolour noir films, Chinatown. Kim Basinger richly deserved her Supporting Actress Oscar for her portrayal of a conflicted femme fatale; unfortunately, her male costars are so uniformly fine that they may have canceled each other out with the Academy voters: Russell Crowe, Guy Pearce, Kevin Spacey and James Cromwell play LAPD officers of varying stripes. Pearce's character is a particularly intriguing study in Hollywood amorality and ambition, a strait-laced "hero" (and son of a departmental legend) whose career goals outweigh all other moral, ethical and legal considerations. If he's a good guy, it's only because he sees it as the quickest route to a promotion. --Jim Emerson
Almost universally derided on its first release as the worst of the Star Trek movies to date, The Final Frontier may just have been the victim of bad press. Following in the wake of the massively successful fourth instalment The Voyage Home didn't help matters (notoriously, even-numbered entries are better), nor did having novice director and shameless egomaniac William Shatner at the helm. But if the story, conceived and co-written by Shatner, teeters dangerously on the verge of being corny at times, it redeems itself with enough thought-provoking scenes in the best tradition of the series, and a surprisingly original finale. Granted there are a few too many yawning plot holes along the way, and the general tone is over-earnest (despite some painfully slapstick comedy moments), but the interaction of the central trio (Kirk, Spock and McCoy) is often funny and genuinely insightful; while Laurence Luckinbill is a charismatic adversary as the renegade Vulcan Sybok. True, the rest of the cast scarcely get a look in, and the special effects betray serious budgetary restrictions, but with a standout score from Jerry Goldsmith and a meaty philosophical premise to play around with, Star Trek V looks a lot more substantial in retrospect. Certainly it's no worse than either Generations or Insurrection, the next "odd-numbered" entries in the series. On the DVD: This is a non-anamorphic widescreen (2.35:1) print, with only two trailers as extra features. Quite frankly, Star Trek fans are being short-changed. --Mark Walker
It was an event that every fan had waited a decade for: the first Star Trek movie. But after its cinema release in 1979 Star Trek: The Motion Picture was quickly dubbed "The Slow-Motion Picture". In the opinion of general audiences, fans and critics alike, the snail-like pace of the film was a crippling flaw. It bothered one person even more, though: but Robert Wise finally got to scratch that itch when preparing this Director's Edition. In an unprecedented display of confidence from a movie studio, Wise has been allowed to re-edit the film and commission new visual effects sequences that were planned but unrealised for the original release. The result is frankly mind-boggling. Finally we are now able to see how Vulcan was supposed to amaze and alienate us, how integral the B-crew's role was to the mission, and just how spectacular the V'ger ship was imagined to be. Is the pace problem addressed? Undoubtedly it is. Scenes are trimmed and a new "busier" effects soundtrack helps considerably. Does it look better? Definitely. The shades of beige and puce have never seemed more crisply defined. Does it sound better? Jerry Goldsmith's music score (arguably one of the best ever written) is as majestically represented as the Enterprise herself. On the DVD: Star Trek: The Motion Picture two-disc set has oodles of extra features, including a complete library of all scenes deleted from both the original and new versions. The picture quality varies throughout, but it's worth putting up with for the (Wise-ly) excised material such as the unfinished effects work. An audio commentary from Wise, special effects director John Dykstra, composer Jerry Goldsmith and Commander Decker himself (Stephen Collins) provides an appraisal for movie aficionados more than Trek fans: the latter will be far more interested in a text commentary from Trek author and scholar Mike Okuda, who points out endless amounts of in-trivia. Better even than all these are three new documentaries that chronicle the film's history from then to now. Each is brightly put together (they don't drag), informative without being overly technical, and exude a pride without bragging. --Paul Tonks
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
Now firmly established as the top-rated US drama, by its third year CSI: Crime Scene Investigation is a show positively glowing with confidence. Even when individual cases seem either too contrived or too easily resolved, the indefatigable night shift at the Las Vegas PD crime lab always look the part, solving conundrums and discovering microscopic damning evidence while, apparently, never shedding their own loose hair or skin cells all over the supposedly quarantined crime scenes. In reality, Catherine Willows' flowing blonde locks would contaminate any evidence she collected, but in the world of CSI only the bad guys leave body parts behind--the CSIs themselves are so good they're positively pristine. The first 12 episodes of season 3 on this three-disc set present more deliciously bizarre situations for the problem-solving sleuths: cannibalism, snuff movies, dwarfs, death while drag racing, bodies falling from the sky, and various dismemberments all tax the team's acumen. These are all double or multiple-case episodes, though in a characteristic trick of the writing sometimes apparently unrelated murders turn out to be connected (or vice versa, as in "Blood Lust", where a road accident victim is not what he seems, and the death of the driver at the hands of an angry mob is made all the more tragic.) The mix of genuine forensic science with the glossiest Jerry Bruckheimer production values, plus the virtues of a good ensemble cast headed by William Peterson's modern-day Sherlock Holmes, remains as compelling as ever. --Mark Walker
Kevin Spacey is a mysterious patient at a mental hospital who claims to be from the planet K-pax. Jeff Bridges is the pyschiatrist who tries to help him, as this supposed alien has remarkable effect on his fellow patients.
One of the greatest directors of the 1980s, John Landis (The Blues Brothers, Trading Places), expertly combines macabre horror with dark humour in the lycanthropic classic, An American Werewolf in London. American tourists David (David Naughton) and Jack (Griffin Dunne) are savaged by an unidentified vicious animal whilst hiking on the Yorkshire Moors. David awakes in a London hospital to find his friend dead and his life in disarray. Retiring to the home of a beautiful nurse (Jenny Agutter, Walkabout) to recuperate, he soon experiences disturbing changes to his mind and body, undergoing a full-moon transformation that will unleash terror on the streets of the capital... An American Werewolf in London had audiences howling with laughter and recoiling in terror upon its cinema release. Landis' film has gone on to become one of the most important horror films of its decade, rightly lauded for its masterful set-pieces, uniquely unsettling atmosphere and Rick Bakers' ground-breaking, Oscar-winning special makeup effects. Now restored in 4K, and presented with an abundance of extra features, this big beast of horror can be devoured as never before... Contents: New 2018 4K restoration from the original camera negative supervised by John Landis High Definition Blu-ray (1080p) presentation Original uncompressed 1.0 mono and optional 5.1 DTS-HD Master Audio Optional subtitles for the deaf and hard of hearing New audio commentary by Beware the Moon filmmaker Paul Davis Audio commentary by actors David Naughton and Griffin Dunne Mark of The Beast: The Legacy of the Universal Werewolf, newly produced, feature-length documentary by filmmaker Daniel Griffith, featuring interviews with John Landis, David Naughton, Joe Dante and more An American Filmmaker in London, a newly filmed interview with John Landis in which he reflects on British cinema and his his time working in Britain I Think He's a Jew: The Werewolf's Secret, new video essay by filmmaker Jon Spira (Elstree 1976) about how Landis' film explores Jewish identity The Werewolf's Call, Corin Hardy, director of The Nun, chats with writer Simon Ward about their formative experiences with Landis' film. Wares of the Wolf, new featurette in which SFX artist Dan Martin and Tim Lawes of The Prop Store look at some of the original costumes and special effects artefacts from the film Beware the Moon, Paul Davis' acclaimed, feature-length exploration of Landis' film which boasts extensive cast and crew interviews Making An American Werewolf in London, a short archival featurette on the film's production An Interview with John Landis, a lengthy archival interview with the director about the film Makeup Artist Rick Baker on An American Werewolf in London, the legendary make-up artist discusses his work on the film I Walked with a Werewolf, an archival interview with the make-up artist about Universal horror and its legacy of Wolfman films Casting of the Hand, archival footage from Rick Baker's workshop as they cast David Naughton's hand Outtakes Original trailers, teasers and radio spots Extensive image gallery featuring over 200 stills, posters and other ephemera Reversible sleeve featuring original poster art and artwork by Graham Humphreys
A mailman adopts a dog that, unbeknown to him, is an FBI drug-sniffing dog who has escaped from the witness relocatio programme. Mayhem ensues when a hit man is sent to destroy the dog.
This first sequel to Dirty Harry was written by a couple of strong voices, writer-directors Michael Cimino (The Deer Hunter) and John Milius (Farewell to the King). But that doesn't mean the film is particularly good. After Don Siegel's ferociously dark style in the first movie, Ted Post's blocky, television-ish direction in Magnum Force is a huge letdown. The story doesn't win any prizes, either. Eastwood's San Francisco detective Harry Callahan (apparently having retrieved his badge after throwing it away at the end of Dirty Harry) takes on a vigilante squad within the city's police force. David Soul is pretty convincing as the major spokesman for these right-wing avengers. Eastwood, on the other hand, had already turned Callahan from fascinating outsider in Siegel's film to purveyor of tough-guy shtick in this one. --Tom Keogh
American Werewolf In London: One of the most gripping horror films of all time is now available in a new 2 disc DVD Special Edition! When two American students touring the English countryside are attacked by a vicious wolf during a full moon, their lives are suddenly transformed forever. Featuring ground-breaking Academy Award-winning make-up by Rick Baker, this cult favourite is directed by John Landis (National Lampoon's Animal House) and perfectly blends the macabre with a touch of humour. Mary Shelley's Frankenstein: It is the late 18th Century. After the death of his beloved mother, young Victor Frankenstein leaves his father and Elizabeth, the adopted sister he passionately loves, to attend university. Here he becomes obsessed with the teachings of Professor Walman who believes that living creatures can actually be created from dead matter. One electrifying night, Frankenstein's efforts are rewarded as his Creature struggles to life. Alone, despised and driven by a rage of emotional agony, it sets off to find its maker. And so begins the nightmare that will engulf Victor Frankenstein... Dracula: Francis Ford Coppola returns to the original source of the Dracula to create a modern masterpiece. It follows the tortured journey of the devastatingly seductive Transylvanian Prince (Gary Oldman) as he moves from Eastern Europe to 19th century London in search of his long lost Elisabeta, who is reincarnated as the beautiful Mina (Winona Ryder)... The Thing: Horror-meister John Carpenter teams Kurt Russell's outstanding performance with incredible visuals to build this chilling version of the classic The Thing. In the winter of 1982, a twelve-man research team at a remote Antarctic research station discovers an alien buried in the snow for over 100,000 years. Soon unfrozen, the shape-shifting alien wreaks havoc, creates terror and becomes one of them...
Meet the Larkins: hen-pecked but crafty Alf and his domineering wife Ada (played to perfection by BAFTA winner David Kossoff and TV battleaxe par excellence Peggy Mount), aimless son Eddie, daughter Joyce, and ex-GI son-in-law Jeff. The entire family spends the first four series of this classic early ATV sitcom in a state falling somewhat short of domestic bliss at 66 Sycamore Street, East London; series five and six see Alf and Ada upping sticks to run a little caf� and B&B, with former nei...
'Linkin Park - Live' recorded during their recent world tour is the band's first long form DVD release and features the band live in concert. Tracklist: 'Papercut' 'One Step Closer' 'Crawling' 'Cure For The Itch' 'In The End' 'Points Of Authority'.
Baywatch was the global TV phenomenon of the Nineties. At its peak this glossy beach soap was watched by over one billion people in one hundred and forty countries worldwide with people soaking themselves in the drama of Malibu beach life and taking to the show like lifeguards to water! David Hasselhoff is Mitch Buchannon a single-parent lifeguard who is the mentor for a crowd of hip young attractive lifeguards keeping the beach safe for the masses. The series' simple premise caught the imagination of audiences worldwide and the show launched the careers of a number of young actors who would go on to cause heatwaves and set temperatures soaring with their on-screen chemistry including Billy Warlock Erika Eleniak Pamela Anderson Yasmine Bleeth Carmen Electra and Tracey Bingham. A landmark TV show that was a ratings smash for over a decade and that still remains a topic of conversation today this box set contains all twenty-two episodes of bikini-clad and sexy six-pack action.
The greatest show on earth and a gargantuan humanitarian effort to help those starving in Africa Live Aid took place on July 13th 1985 and brought together some of the biggest music stars of all time! ""Twenty years ago they not only played 'real good for free ' they took an issue that was nowhere on the agenda of the political world and placed it at the very top "" says concert organizer Bob Geldof. ""By buying the Live Aid DVD that day continues far off into some distant but hopeful
In autumn 2004 an all star line up of some of the world's greatest guitarists and thousands of fans gathered at London's Wembley Arena to celebrate the 50th birthday of a music legend the Fender Stratocaster guitar. Members of Queen Genesis Thin Lizzy The Crickets The Shadows Free The Eagles Roxy Music Pink Floyd and The Rolling Stones... plus solo stars Albert Lee Jamie Cullum and Theresa Andersson. Tracklist: 1. Peggy Sue - The Crickets Albert Lee and Brian May
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