Academy Award-winning actor Denzel Washington's directorial debut involves the touching story of a sailor (Derek Luke) who, prone to violent outbursts, is sent to a naval psychiatrist (Washington) for help.
When college lecturer Ben Rolf (Oliver Reed, The Brood, The Devils) and his family rent a remote country mansion at a bargain price, they believe they're in for an uneventful summer. Little do they realise that they've just moved into a veritable house of horrors! As the malevolent force that dwells within its walls exerts its dark influence on the minds of its new inhabitants, and the sinister occurrences begin to mount up, it grows increasingly clear that this is a holiday they'll never forget... provided any of them live to tell of it. Also starring Karen Black (The Day of the Locust) and Bette Davis (Whatever Happened to Baby Jane?), Burnt Offerings provides a unique and chilling portrait of a modern family in meltdown. Presented in high definition for the first time in the UK, there has never been a better time to revisit or discover for the first time this unforgettable slice of American Gothic. SPECIAL EDITION CONTENTS High Definition Blu-ray (1080p) and Standard Definition DVD presentation of the feature, transferred from original film elements by MGM Original uncompressed PCM mono audio Optional English subtitles for the deaf and hard of hearing Audio commentary by film historian Richard Harland Smith Acting His Face, an interview with actor Anthony James Blood Ties, an interview with actor Lee Montgomery From the Ashes, an interview with screenwriter William F. Nolan Portraits of Fear, an animated gallery of promotional materials and behind-the-scenes stills Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by Haunt Love First pressing only: Collector's booklet featuring new writing on the film by critic Kat Ellinger
A pitch black, wryly British comedy from the mind of Alice Lowe, Prevenge follows Ruth, a pregnant woman on a killing spree. It's her misanthropic unborn baby dictating Ruth's actions, holding society responsible for the absence of a father. The child speaks to Ruth from the womb, coaching her to lure and ultimately kill her unsuspecting victims. Struggling with her conscience, loneliness, and a strange strain of prepartum madness, Ruth must ultimately choose between redemption and destruction at the moment of motherhood. Having shown at Venice, Toronto and most recently the London International Film Festival, Prevenge marks the directorial debut from Lowe, who is a true triple threat, writing, directing, and acting in the film during her own real-life pregnancy.
Love is a weakness to be exploited and betrayed. Starring Bob Hoskins Michael Caine and Cathy Tyson 'Mona Lisa' is a classic drama written and directed by Neil Jordan about a driver (Hoskins) who falls for his employer - high-class prostitute Simone (Tyson).
Peter Ustinov makes his debut as Agatha Christie's brilliant Belgian detective Hercule Poirot in this lavish and star-studded follow-up to Murder On The Orient Express. As Poirot enjoys a luxurious cruise down the Nile a newlywed heiress is found murdered on board and every elegant passenger becomes a prime suspect. Can Poirot identify the killer and motive before the ship of clues reaches the end of its murderous journey? Bette Davis David Niven Angela Lansbury Maggie Smith Mia Farrow George Kennedy Olivia Hussey Simon MacCorkindale Jane Birkin Jack Warden and Lois Chiles co-star in this sumptuous Oscar-winning classic adapted by Anthony Shaffer (Sleuth) and filmed on location throughout exotic Egypt.
A portaloo toilet installer sees his routine life thrown into chaos in this smash Australian comedy.
It feels both inaccurate and inadequate to describe The Office as a comedy. On a superficial level, it disdains all the conventions of television sitcoms: there are no punch lines, no jokes, no laugh tracks, and no cute happy endings. More profoundly, it's not what we're used to thinking of as funny. Most of the fervently devoted fan base watched with a discomfortingly thrilling combination of identification and mortification. The paradox is that its best moments are almost physically unwatchable. Set in the offices of a fictional British paper merchant, The Office is filmed in the style of a reality television show. The writing is subtle and deft, the acting wonderful, and the characters beautifully drawn: the cadaverous team leader Gareth (Mackenzie Crook); the monstrous sales rep, Chris Finch (Ralph Ineson); and the decent but long-suffering everyman Tim (Martin Freeman), whose ambition and imagination have been crushed out of him by the banality of ! the life he dreams uselessly of escaping. The show is stolen, as it was intended to be, by insufferable office manager David Brent, played by codirector-cowriter Ricky Gervais. Brent will become a name as emblematic for a particular kind of British grotesque as Basil Fawlty, but he is a deeper character. Fawlty is an exaggeration of reality, and therefore a safely comic figure. Brent is as appalling as only reality can be. --Andrew Mueller The second series exceeded even the sky-high standards of the first. Indeed, it ventured beyond caricature and satire, touching on the very edge of darkness. Ricky Gervais is once again excruciatingly superb as David Brent, but in this series, Brent's to-the-camera assertions concerning his management qualities and executive capabilities are seriously challenged when the Slough and Swindon branches are merged and his former Swindon equivalent Neil (Patrick Baladi) takes over as area manager. To compensate, Brent cultivates his pathologically mistaken image of himself as an entertainer-motivator-comedian whose stage happens to be the workplace. Meanwhile, Tim, who can only maintain his sanity by teasing the priggish Gareth, continues to wrestle with his yearning for receptionist Dawn Tinsley (Lucy Davis), a sympathetic character persisting in a relationship with a man about whom she still maintains unspoken reservations. As ever, it's the awkward, reality TV-style pauses and silences, the furtive, meaningful and unmet glances across the emotional gulf of the open-plan office, that say it all here. As for Brent, his own breakdown is prefaced by a moment of hideous hilarity--an impromptu office dance, a mixture of "Flashdance and MC Hammer" as Brent describes it, but in reality bad beyond description. Then, when his fate is sealed, he at last reveals himself in a memorable finale to perhaps the greatest British sitcom, besides Fawlty Towers, ever made. --David Stubbs The brilliant and devastating comedy of The Office is brought to a satisfying conclusion in The Office Special, originally a two-part Christmas special on the BBC, set three years after the end of the faux-documentary's second season. The former office manager David (Ricky Gervais) now ekes out a desperate existence as an oblivious quasi-celebrity, making awkward, humiliating visits back to the office staff he still believes loves him. Gawky Gareth (Mackenzie Crook) has risen to manager and become a petty tyrant, while the sweet but snide Tim (Martin Freeman) continues to pine for former receptionist Dawn (Lucy Davis), who fled to Florida with her fiance. When the documentary crew pays for Dawn to return for the holiday party, an unpredictable reunion looms ahead. The Office fuses scathing humor and genuine empathy, turning excruciating social discomfort into inspired satire. Fans will find this special rewarding in all respects. --Bret Fetzer
The Man Who Sued God defies simple definition, managing to be several types of movie all at the same time. As a theological-romantic-comedy-drama, it's in a somewhat unique category all of its own. Perhaps only Billy Connolly could carry off a central role that combines slapstick with raging anger, puppy-dog disappointment and strong language delivered in his distinctive accent. These facets of performance are used and abused in a tale that feels like it really ought to be based on a true story, but isn't. Connolly's life as a fisherman is sunk by the destruction of his boat by a bolt of lightning. The insurance company won't pay up because it falls under that age-old excuse of being an "Act of God". So Connolly decides to sue the deity. The premise raises issues about how the law and the church have apparently conspired together. But at heart the film is a simple character study, so any pondering on legal or theological implications will have to be done on your own time; the screen is occupied with family issues, underhand dealings and a maybe-maybe romance with Judy Davis. Big Yin fans at least will enjoy the Connolly's composite character. --Paul Tonks
It's no disparagement to describe Simon Pegg and Edgar Wrights zombie-rom-com Shaun of the Dead as playing like an extended episode of Spaced. Not only does the movie have the rather modest scope of a TV production, it also boasts the snappy editing, smart camera moves, and deliciously post-modern dialogue familiar from the sitcom, as well as using many of the same cast: Peggs Shaun and Nick Frosts Ed are doppelgangers of their Spaced characters, while Jessica Stevenson and Peter Serafinowicz appear in smaller roles. Unlike the TV series, its less important for the audience to be in on the movie in-jokes, though it wont hurt if you know George Romeros famous Dawn of the Dead trilogy, which is liberally plundered for zombie behaviour and mythology. Shaun is a loser, stuck in a dead-end job and held back by his slacker pal Ed. Girlfriend Liz (Kate Ashfield) is exasperated by his lack of ambition and unceremoniously dumps him. As a result, Shaun misses out on what is apparently the end of the world. In a series of beautifully choreographed and edited scenes, including hilarious tracking shots to and from the local shop, he spectacularly fails to notice the death toll and subsequent zombie plague. Only when one appears in their back garden do Shaun and Ed take notice, hurling sundry kitchen appliances at the undead before breaking out the cricket bat. The catastrophe proves to be the catalyst for Shaun to take charge of his life, sort out his relations with his dotty mum (Penelope Wilton) and distant stepdad (Bill Nighy), and fight to win back his ex-girlfriend. Lucy Davis from The Office and Dylan Moran of Black Books fame head the excellent supporting cast. --Mark Walker
Relive the drama intrigue and deception of TV's most watched event of the 1980s features all 25 episodes from season three. Episodes comprise: 1. What Ever Happened To Baby John (Part 1) 2. What Ever Happened To Baby John (Part 2) 3. The Silent Killer 4. Secrets 5. The Kristin Affair 6. The Dove Hunt 7. The Lost Child 8. Rodeo 9. Mastectomy (Part 1) 10. Mastectomy (Part2) 11. The Heiress 12. Ella Saves The Day 13. Mother Of The Year 14. Return Engagements 15. Love And Marria
Chase is on the case and Marshall is all fired up for these 8 PAW Patrol adventures! Join the team as their police pup and firedog lead them on some “ruff-ruff” rescues. Bonus Features: Pups Pit Crew/Pups Fight Fire Pups Save A Hoedown/Pups Save Alex Pups Save A Monkey/Pups Save A Hoot Pups And The Lighthouse Boogie/Pups Save Ryder
With Jam, the TV follow-up to his Radio 1 series Blue Jam, Chris Morris focuses more on unease more than the satire of Brass Eye. Indeed, it's a moot point whether Jam can actually be categorised as comedy at all. Each sketch is steeped in a heavy brine of dark, ambient music (including Bark Psychosis, David Sylvian and Brian Eno), grainy imagery, fast-cut editing and slo-motion. Its mirthless, Kafka-esque scenarios feel like an attempt to morph into some new species of post-comedy that is more like the stuff of nightmares. The credits, in which Morris stalks the moving camera, uttering Lear-esque words of foreboding immediately announce that this "sketch show" is a galaxy apart from The Two Ronnies. The appalled look on actor Kevin Eldon's face in the opening sketch of the series, as a young couple invite him to endure being buggered by a mutual acquaintance ("I need a break"), sets the tone. Rape, chemotherapy, wanton urination--as a naked "Robert Kilroy-Silk" goes insane in a sketch full of detestation for the oleaginous TV presenter--and recurring sketches involving callously authoritarian NHS doctors, all go to make up these annals of the bizarre and perverse. Ultimately, Jam doesn't quite work, not on TV anyway. The repetition of the same, small cast over and over, broken up too briefly by Morris' own appearances (as a "country gentleman" living outside his house, for instance), coupled with the gruelling treatment of the sketch material makes for a psyche-probing, jaw-dropping experience--but in parts also a nullifying and strangely predictable one. Morris's "failures" are far more interesting than most people's successes. --David Stubbs
Before she was Wonder Woman, she was Diana, princess of the Amazons, raised on a sheltered island paradise and trained to be an unconquerable warrior. When an American pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers and her true destiny. Click Images to Enlarge
Daniel (Mark Lester, Oliver!) and Ornshaw (Jack Wild, Oliver! Robin Hood: Prince of Thieves), two mischievous schoolboys attending a south London comprehensive, strike up a trusting friendship despite their vastly different social backgrounds. But when Daniel falls head over heels in love with fellow pupil Melody, Ornshaw resents being neglected. Not only is their friendship compromised, but the dull, grumpy adult world that surrounds them is about to be turned upside down when ten-year-olds Daniel and Melody announce their plans to get married. Brilliantly and poignantly capturing the world of the pre-adolescent, Melody revels in the joys of youthful rebellion. Since its original release in 1971, it has gained an immense, international cult following and become one of British cinemas most cherished films. Not only was it Alan Parker's (The Commitments, Midnight Express) first screenplay, but also David Puttnam's (Chariots Of Fire, The Killing Fields) debut as a feature film producer. Melody features a fantastic, unforgettable soundtrack from The Bee Gees and Crosby, Stills, Nash and Young EXTRAS: New Interviews with David Puttnam, Alan Parker, Waris Hussian and Mark Lester and Stills Gallery
Johnny Worricker (Bill Nighy) is a long-serving M15 officer. His boss and best friend Benedict Baron (Michael Gambon) dies suddenly, leaving behind him an inexplicable file, threatening the stability of the organization. Meanwhile, a seemingly chance encounter with Johnny's striking next-door neighbour and political activist Nancy Pierpan (Rachel Weisz) seems too good to be true. Johnny is forced to walk out of his job, and then out of his identity to find out the truth. Set in London and Cambridge, Page Eight is a contemporary spy film for the BBC, which addresses intelligence issues and moral dilemmas peculiar to the new century.
Sometimes she's too big. Or much too small. Sometimes things are backwards. And there's always too much pepper in the soup! Nothing is quite right since Alice chased a very unusual White Rabbit and stumbled into an adventure that grows curiouser and curiouser. One of the greatest childhood fantasies ever is captured in Irwin Allen's colorful all-star production adapted from Lewis Carroll's Alice's Adventures in Wonderland. Steve Allen wrote the jolly witty songs and more than a dozen Hollywood stars join in the wondrous fun. Alice is looking for a way home. And happy to be welcomed into yours.
Our glamorous lady detective The Honourable Miss Phryne Fisher (Essie Davis) sashays through the back streets of 1928 Melbourne fighting injustice with her pearl handled pistol and her dagger sharp wit. Leaving a trail of lovers in her wake our very modern heroine makes sure she is always the centre of attention and relishes every one of life's moments. Also starring Nathan Page Ashley Cummings Hugo Johnstone-Burt and Miriam Margoyles. Based on the novels by Kerry Greenwood this DVD set includes all 13 episodes from the first series and a host of extras filmed on location with cast and crew.
Although probably best remembered for the controversial and groundbreaking dramas Scum, Made in Britain and The Firm, the breadth of Alan Clarke's radical, political, innovative, inspirational work, along with his influence on generations of filmmakers, such as Gus Van Sant, Paul Greengrass, Andrea Arnold, Harmony Korine, Clio Barnard, Shane Meadows, should see him rightly regarded as one of Britain's greatest ever filmmaking talents. This collection brings together twenty-two stand-alone BBC TV dramas that Alan Clarke directed between 1969 and 1989, including such neglected classics as To Encourage the Others, Horace, Penda's Fen, Diane, Contact, Christine and Elephant, and also includes Scum and Clarke's original Director's Cut of The Firm, assembled from his personal answer print, discovered in 2015. This 12-Disc Box Set also includes a raft of additional materials, including David Leland introductions, extracts from BBC discussion shows Open Air and Tonight, and recently-produced documentaries and audio commentaries. Films: The Last Train through Harecastle Tunnel (1969) Sovereign's Company (1970) The Hallelujah Handshake (1970) To Encourage the Others (1972) Under the Age (1972) Horace (1972) The Love Girl and the Innocent (1973) Penda's Fen (1974) A Follower for Emily (1974) Diane (1975) Funny Farm (1975) Scum (1977) Nina (1978) Danton's Death (1978) Beloved Enemy (1981) Psy-Warriors (1981) Baal (1982) Stars of the Roller State Disco (1984) Contact (1985) Christine (1987) The Firm: Director's Cut (1989) The Firm: Broadcast Version (1989) Elephant (1989) Product Features Alan Clarke: Out of His Own Light (2016, 270 mins) Three short introductions by David Leland (1991) Eight audio commentaries (Diane, Scum, Bukovsky, Contact, Christine, Elephant, The Firm (x2)) Bukovsky (Alan Clarke, 1977, 50 mins) + outtakes Archival BBC discussion programmes (77 mins total) Interview with A F N Clarke (2016, 22 mins): interview with the writer of Contact Alan Clarke interview (1989, 10 mins) Stills galleries
How a legend was born! Ruthless. Shameless. Clueless! Celebrity interviewer Jiminy Glick (Martin Short) tackles the big screen with his first feature film: a wildly irreverent laugh-till-it-hurts movie experience. Hungry for an A-list interview that could launch him into the gossip-page stratosphere the small-time journalist with big aspirations and an even bigger appetite drags his wife and kids across the country to the star-studded Toronto Film Festival. But in between t
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