Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh
Man Money features Diane Keaton Queen Latifah and Katie Holmes as three female employees of the Federal reserve bank who plan to steal money that is about to be destroyed!
Francis Ford Coppola took some of the deep background from the life of Mafia chief Vito Corleone--the patriarch of Mario Puzo's bestselling novel The Godfather--and built around it a stunning sequel to his Oscar-winning, 1972 hit film. Robert De Niro plays Vito as a young Sicilian immigrant in turn-of-the-century New York City's Little Italy. Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba. As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born. This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression. But even with him and a number of truly brilliant actors (including maestro Lee Strasberg), this is ultimately Pacino's film and a masterful performance. --Tom Keogh
Francis Ford Coppola took some of the deep background from the life of Mafia chief Vito Corleone--the patriarch of Mario Puzo's bestselling novel The Godfather--and built around it a stunning sequel to his Oscar-winning, 1972 hit film. Robert De Niro plays Vito as a young Sicilian immigrant in turn-of-the-century New York City's Little Italy. Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba. As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born. This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression. But even with him and a number of truly brilliant actors (including maestro Lee Strasberg), this is ultimately Pacino's film and a masterful performance. --Tom Keogh
Nominated for two Academy Awards and considered one of [Woody] Allen's most enduring accomplishments (Box office) Manhattan is a wry touching and finely rendered portrait of modern relationships set against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format) and accompanied by a magnificent Gershwin score Allen's aesthetic triumph is a prismatic portrait of a time and a place that may be studied decades hence (Time). Forty-two-year-old Manhattan native Isaac Davis (Allen) has a job he hates a seventeen year- old girlfriend Tracy (Mariel Hemingway) he doesn't love and a lesbian ex-wife Jill (Meryl Streep) who's writing a tell-all book about their marriage... and whom he'd like to strangle. But when he meets his best friend's sexy intellectual mistress Mary (Diane Keaton) Isaac falls head over heels in lust! Leaving Tracy bedding Mary and quitting his job are just the beginnings of Isaac's quest for romance and fulfilment in a city where sex is as intimate as a handshake - and the gateway to true love... is a revolving door.
Neurotic New York film critic Allan Felix (Woody Allen) has just broken up with his wife Nancy (Susan Anspach) causing him to spiral into a deep depression and look for solace in the classic movies that he loves particularly the romantic saga 'Casablanca'. Allan begins to have conversations with the fantasy ghost of the film idol Humphrey Bogart (Jerry Lacy) who gives him advice on romance and masculinity. Allan's married friends Linda and Dick (Diane Keaton Tony Roberts)
The writing-directing team of Charles Shyer and Nancy Meyers (Father of the Bride) made this sweet satire about a high-powered yuppie executive (Diane Keaton) who unexpectedly becomes a mom and finds she can't successfully integrate the role into her busy life. Typical of the Shyer-Meyers films prior to Myers taking the director's reins on the wonderful Parent Trap, Baby Boom is a little wooden and more sentimental than genuine. But there are entertaining moments, for sure, and Keaton is a delight. --Tom Keogh
Leonardo DiCaprio gives an electrifying performance as the criminally rebellious son in this funny and stirring tale of one family's humor and heartache. Seventeen years ago fiercely independent Lee ((Meryl Streep) left home...and left behind her kindhearted sister Bessie (Diane Keaton) to care for their father Marvin (Hume Cronyn). But now Lee is returning with her teenage son (Leonard DiCaprio) for a homecoming that's sure to turn the entire household upside down! Also starring Robert DeNiro this entertaining motion picture proves that people you know the least may be the ones you need the most!
Michael Douglas and Diane Keaton star in this comedy directed by Rob Reiner. Selfish, egocentric real estate agent Oren (Douglas)'s whole life changes when he gets an unexpected knock at the door: his estranged son arrives at the house with a daughter he knew nothing about, and he unassumingly takes on the role of granddad. Realising he has no idea how to take care of a child, he accepts the help of his caring neighbour Leah (Keaton). As Oren slowly learns how to love and care for another human being, his self-centred lifestyle begins to take a backseat.
Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalogue of Things that Make Life Worth Living. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more insoluble, terrifying problems about the universe". It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favourite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvellous kind of negative capability".) The film's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me", and "It's very important to have some kind of personal integrity". OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson
Upon its release The Godafther: Part II was hailed as the best sequel to a movie ever made however this film is much more than that. Coppolla utilised a quite brilliant screenplay and turned it into a visually captivating treat as well as using his directorial skills to make the audience view the rise and demise of the ill-fated Michael Corleone (Al Pacino) as first-person participants with masterful skill. Add to this an astounding performance by Pacino and an Oscar-winning portra
SEASON ONE Prepare for the chill of a lifetime as the master of suspense, Rod Serling, hosts 17 episodes of terror in this classic series, featuring the original pilot movie and every spine-tingling episode from the complete First Season of Night Gallery. Be thrilled by stories adapted from short stories by such legendary writers as H.P.Lovecraft and Conrad Aiken. Featuring Hollywood greats including Diane Keaton, Joan Crawford and Roddy McDowall, and directed by cinematic masters like Steven Spielberg in this unforgettable series. SEASON TWO Prepare for the unexpected in Season Two of The Night Gallery! Containing all 67 stories from the series and created and hosted by the master of mystery : The Twilight Zone's Rod Serling. Featuring guest performances from a host of legends that reads like a Who's Who of Hollywood, you'll be sure to see sights to amaze! Featuring audio commentaries, behind the scenes featurettes and a gallery presentation of the paintings from the series, this collector's set is the classic anthology of timeless, spine- tingling entertainment you don't dare to miss! SEASON THREE Join the master of mystery Rod Serling as he invites you into the transfixing world of fantasy, horror and science fiction of the Night Gallery. In this complete Third and final season, Serling once again presents stories that still leave an undeniable chill, filled with restless spirits, murderous spouses and unidentified terrors that go bump in the night! Featuring a sensational roster of acting legends including Vincent Price, Mickey Rooney, Sally Field, Sandra Dee, Bill Bixby and Leonard Nimoy, you'll want to be there as the final portrait of suspense is hung in the Night Gallery.....Forever.
Celebrating the 30th Anniversary of The Godfather: Part III, director/screenwriter Francis Ford Coppola brings a definitive new edit and restoration of the final film in his epic Godfather trilogyMario Puzo's THE GODFATHER Coda: The Death of Michael Corleone. Michael Corleone (Al Pacino), now in his 60s, seeks to free his family from crime and find a suitable successor to his empire. That successor could be fiery Vincent (Andy Garcia)... but he may also be the spark that turns Michael's hope of business legitimacy into an inferno of mob violence. The film's meticulously restored picture and sound, under the supervision of American Zoetrope and Paramount Pictures, includes a new beginning and ending, as well as changes to scenes, shots, and music cues. The resulting project reflects author Mario Puzo and Coppola's original intentions of The Godfather: Part III, and delivers, in the words of Coppola,a more appropriate conclusion to The Godfather and The Godfather: Part II. Product Features Introduction From Francis Ford Coppola
For Becky (Rachel McAdams, The Notebook), running a TV show in New York City was the big break she dreamed of… until star co-anchors Mike (Harrison Ford, Raiders of the Lost Ark) and Colleen (Diane Keaton, Something’s Gotta Give) declare an all-out, on-air war. Making the show work with its cast of eccentric characters and outrageous story angles will take a major miracle, but Becky is ready to rise and outshine. Special Features: Commentary by Director Roger Michell and Writer Aline Brosh McKenna Deleted Scenes: Shampoo Bottles (HD)
Jude Law and Diane Keaton star in this drama that was created and directed by Paolo Sorrentino (Youth, The Great Beauty) Lenny Belardo, aka Pius XIII, is the first American Pope in history. Young and charming, his election might seem the result of a simple and effective media strategy by the College of Cardinals. But, as we know, appearances can be deceptive. Especially in the place and among the people who have chosen the great mystery of God as the guiding light of their existence. That place is the Vatican and those people are the leaders of the Catholic Church. And the most mysterious and contradictory figure of all turns out to be Pius XIII himself. Shrewd and naïve, old-fashioned and very modern, doubtful and resolute, ironic, pedantic, hurt and ruthless, Pius XIII tries to walk the long path of human loneliness to find a God for mankind. And for himself.
Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk". Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is incontestable when he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater".The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson
Despite making many other distinguished films in his long, wandering career, Francis Ford Coppola will always be known as the man who directed The Godfather trilogy, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are an Italian-American Shakespearian cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce Reid, Amazon.com On the DVD: Contained in a tasteful slipcase, the three movies come individually packaged, with the second instalment spread across two discs. The anamorphic transfers are acceptable without being spectacular, with Part 3 looking best of all. Francis Ford Coppola--obviously a DVD fan--provides an exhaustive and enthusiastic commentary for all three movies, although awkwardly these have to be accessed from the Set Up menu. The fifth bonus disc is a real goldmine: the major feature is a 70-minute documentary covering all three productions, which includes fascinating early screen-test footage. There's also a 1971 making-of featurette about the first instalment, plus several shorter pieces with Coppola, Mario Puzo and others talking about specific aspects of the series, including a treasurable recording of composer Nino Rota performing the famous theme. Another section contains all the Oscar-acceptance speeches and Coppola's introduction to the TV edit, plus a whole raft of additional scenes that were inserted in the 1977 re-edited version. Text pieces include a chronology, a Corleone family tree and biographies of cast and crew. Overall, this is a handsome and valuable package that does justice to these wonderful movies. --Mark Walker
Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh
Celebrating the 30th Anniversary of The Godfather: Part III, director/screenwriter Francis Ford Coppola brings a definitive new edit and restoration of the final film in his epic Godfather trilogyMario Puzo's THE GODFATHER, Coda: The Death of Michael Corleone. Michael Corleone (Al Pacino), now in his 60s, seeks to free his family from crime and find a suitable successor to his empire. That successor could be fiery Vincent (Andy Garcia)... but he may also be the spark that turns Michael's hope of business legitimacy into an inferno of mob violence. The film's meticulously restored picture and sound, under the supervision of American Zoetrope and Paramount Pictures, includes a new beginning and ending, as well as changes to scenes, shots, and music cues. The resulting project reflects author Mario Puzo and Coppola's original intentions of The Godfather: Part III, and delivers, in the words of Coppola, a more appropriate conclusion to The Godfather and The Godfather: Part II.
Writer-director Woody Allen's 1975 comedy finds the familiar Allen persona transposed to 19th-century Russia, as a cowardly serf drafted into the war against Napoleon, when all he'd rather do is write poetry and obsess over his beautiful but pretentious cousin (Diane Keaton). A total disaster as a soldier, Allen's cowardice serves him well when he hides in a cannon and is shot into a tent of French soldiers, suddenly making him a national hero. After his cousin agrees to marry him, thinking he'll be killed in a duel he miraculously survives, the couple must hatch a ludicrous plot to assassinate Napoleon in order to keep the coward Allen out of yet another war. Allen and Keaton show what a perfect comic team they make in this film, even predating their most celebrated pairing in Annie Hall. Working so well as the most unlikely of comedies, of all things a hilarious parody of Russian literature, Love and Death is a must-see for fans of Woody Allen films. --Robert Lane
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