Weatherman Dave Spritz has a shot at the big time when a national TV show calls him for an audition. But secretly his life is in turmoil.
Released in 1995, Mighty Aphrodite was arguably Woody Allen's most successful film since Hannah and Her Sisters almost a decade earlier. The story follows Allen's neurotic New York sports writer Lenny, who becomes obsessed with tracking down his adopted son's birth mother, Linda. His odyssey is narrated and commented upon with coruscating wit by a Greek chorus led by F Murray Abraham. Despite their dire warnings at his rather ham-fisted attempts at hubris, there is nothing tragic in the ultimately uplifting tale. Lenny eventually locates Linda (an Oscar-winning performance from the enchanting Mira Sorvino) and discovers that she's caught up in just about every aspect of the sex trade. Without revealing his reasons, he sets about improving her life with hilarious results. Sorvino is a wonder as the tall, alluring and vulnerable Linda, who talks with candid innocence of her adventures in vice (she offers a blow job as if it was a pound of apples) and clearly deserves a better hand than she has been dealt. Helena Bonham Carter, not entirely convincing as a driven Manahattanite, plays Allen's ambitious art dealer wife whom Lenny ultimately realises is the love of his life. And a host of stars including Claire Bloom, Gwenn Verdon and Olympia Dukakis (Jocasta) contribute shining moments to this intelligent and touching comedy. When the chorus bursts into "When You're Smiling" at the end, it's like the sun coming out. On the DVD: The widescreen (1.85:1) presentation gives the location-shot chorus scenes marvellous resonance, although the Dolby Digital mono soundtrack is occasionally rather flat. Both picture and sound quality, however, preserve the intimacy which is the trademark of Allen's finest work. There are no extras beyond a choice of subtitles and the usual scene selection menu.--Piers Ford
After their failed attempt to take over the Federation war fleet, John Worthy and General Gustav are sentenced to death but they are rescued by Worthy's girlfriend, Jolli, who has control of a new Starship, The Deliverance. Meanwhile, The Overseer, Ruler of the Federation, wants to enslave the rebellious worlds with an ancient alien Nano-Virus that turns humans into mindless slaves. Starship Deliverance, Worthy and his team are all that stand in the way of total slavery of the entire human race.
Caye (Candela Pena) is a middle-class prostitute whose family are unaware of her profession. While many of Caye's days are spent hanging out with her fellow prostitutes cursing the rapid proliferation of cheaper immigrant prostitutes on the city streets a chance encounter with Zule (Miceala Nevarez) who hails from the Dominican Republic soon prompts Caye to reevaluate her condemnation. A dedicated mother who sells her body in order to send money back to her son back home Zule is taken to hospital by Caye after being badly beaten and left for dead. Now as a warm bond begins to develop between the two women whose dreams of financial stability and kind companionship help to ease the pain of familial separation the resulting discovery of selfdetermination leads Caye and Zule in a journey of self-discovery that will leave both women changed forever.
It's Christmas Eve, and Arnold needs to find a Turbo Man action figure, the craze of the season. Only they're sold out, of course. So the race is on, and the Austrian Oak must do fierce battle with other shoppers and merchants alike, all for the prize toy with which to purchase his son's affections. All of which is unwittingly very sad, on the content level. But the film supposes itself to be amiable enough, on its own shabby terms, even when it climbs out of the screen and starts gnawing at your furniture. If the humour were to get broader it would make HDTV obsolete. The tone can only be termed good-naturedly mean-spirited. Goofy carnival music runs continuously in the background so we never forget that what we're seeing is, er, um, funny. All the action is composed of comic violence, like an unhip Warner Bros. cartoon. Do the filmmakers actually consider this cynical foray to be indicative of the Christmas spirit? Apparently so, because the resolution has Arnold winning quite inadvertently, and offers no clear alternative to the competitive commercialism that drives the film's attempts at humour. In a key scene that's meant to be touching, Arnold and his chief rival Sinbad sit down for a heart-to-heart in which we learn that receiving much-wanted Christmas presents in our formative years is responsible for our success in adulthood. You get that Turbo Man, you'll be a billionaire; don't get it, you'll be a loser. Such is the formidable challenge of parenthood, to cater to the child's whims while it can still make a difference. This is what's wrong with America. --Jim Gay, Amazon.com
Nursing student Jenny Cole collects her car from the garage where it has just been serviced. On her way to visit her mother she picks up her infant niece and offers a ride to Ed an executive who is rushing to the airport and Dex a skateboarder whose skateboard was broken in a near collision with her car. Soon after entering onto the freeway Jenny realises that her accelerator has become stuck trapping them in the speeding car with no way to stop...they're out of control and on the
When a New York dance company's brilliant artistic director dies three former stars of the company are brought back in hopes of saving the company by resurrecting a dance piece that was created for them years ago but never performed - the very dance that ended all their careers in a heartbreaking way. Given one last chance to discover a dream they lost the three dancers battle against time and damaged relationships finding they must first face themselves before they can face the dance.
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