Don Borisenko plays a USAF pilot whose buddy is castrated during a mission leading him to go AWOL in an attempt to lose his virginity. Reduced to impotence through trauma he eventually finds hope in his quest in the form of a young Susan Hampshire but not before a brutal encounter with the military police.
From prehistoric beasts and grotesque mutations, to jaw-crunching man-eaters and aggressive artic alphas, get more bite than you bargained for from the mother of all predators. Throughout five spine tingling splatter-fests, the ferocious killing machines wreak havoc across the globe, proving evil has one BIG appetite and will stop at nothing to dominate the food chain. The ULTIMATE 5-MOVIE SHARK COLLECTION is five times as deadly, five times as razor sharp and five times as unforgettable! Included the following five films: RAIDERS OF THE LOST SHARK 3-HEADED SHARK ATTACK PLANET OF THE SHARKS ICE SHARKS JURASSIC SHARKS
Harriet M. Welsch (Michelle Trachtenberg) is probably the world's most accomplished 11-year-old spy. Harriet dreams of being a writer and her nanny and best friend Golly (Rosie O'Donnell) told her to start by writing down everything she sees. It's all in good fun until Harriet's friends find her secret spy notebook. They don't like what Harriet's written. And they don't like Harriet that much either. Can Harriet win back her friends or is she doomed to be an outsider a rejected wr
The Sean Connery Collection. The Untouchables: Brian De Palma's 'The Untouchables' is a must-see masterpiece: set to a classic Ennio Morricone score this is the glorious and fierce depiction of the larger than life mob warlord who ruled Prohibition-era Chicago - and the law enforcer who vowed to bring him down. This classic confrontation between good and evil stars Kevin Costner as federal agent Eliot Ness Robert De Niro as gangland kingpin Al Capone and Sean Connery
Steven Spielberg's alien abduction opus Taken is what happens when you cross-breed Close Encounters of the Third Kind with The Waltons. Obviously flushed with the success of the TV mini-series Band of Brothers, Spielberg's Dreamworks studio has created an equally epic 10-part story chronicling 50 years of habitual abduction over several generations of three American families. Beginning with the most notorious alien cover-up in US history, the 1947 "crash" at Roswell, New Mexico, Taken introduces the "Greys" and the families they routinely abduct, probe and, in a couple of cases, impregnate over the course of the ten hour-and-a-half-long episodes. The three families are: the Keys, from which first Russell, then his son Jessie, then grandson Danny, are all abducted; the Clarkes, who are descended from a liaison between lonely put-upon housewife Sally Clarke and one of the Roswell crash survivors; and the Crawfords, the ruthless G-men who are committed to uncovering the purpose behind the alien visitations at any cost. But even though the Greys' actions are at best ambiguous and at worst hostile, Taken is basically a soap opera, lacking the sinister undercurrent of either Dark Skies or The X-Files despite its science-fiction trappings. Nevertheless, this is an engaging series which has decent performances--most notably Joel Gretsch as psychotic Owen Crawford--special effects and an engaging enough storyline to make it entertaining, if somewhat disposable, TV. --Kristen Bowditch
Vanessa Stewart is an American who meets war correspondent Bill Fitzgerald in Venice. The attraction is immediate and an intense relationship ensues but Vanessa already has a fiance back in the States and when she returns forbids Bill ever to contact her again. It's not long however before Vanessa enters one of the world's most dangerous war zones to find the man she loves more than life itself...
Director Barry Levinson treats The Natural as a kind of shrine to America's national pastime, baseball, complete with all the possible mythic resonance that can be gleaned from the subject. Fans of the Bernard Malamud novel may be dismayed, but anyone who fell for the similarly mythic Field of Dreams will be hooked. Levinson displays an unabashed devotion to the game, although the film could use more of the realities of chewing tobacco and pine tar. The story opens as a young man (Robert Redford, in soft lighting) emerges from the sun-dappled heartland as maybe the best baseball player anybody's ever seen. On his way to the majors, he is waylaid by an enigmatic black widow (Barbara Hershey) and vanishes for many years. When he re-emerges, a silent mystery, he lands a spot with a New York team and begins tearing up the league--he's still the natural. Redford is fine, and Kim Basinger and Oscar-nominated Glenn Close are effective as the women in his life. The crowning touch is the soaring, extraordinary music by Randy Newman, the singer-songwriter turned orchestral composer. --Robert Horton, Amazon.com
The Secret Life of Us follows eight twentysomethings sharing three apartments in a Melbourne residential block, and may well be Channel 4's best-kept secret. Buried in a mid-week late-night slot the show has nevertheless developed a cult following as an antipodean answer to This Life, though one mercifully free of amateurish shaky photography. This is actually a good-looking soap spiced with post-watershed language, sex, nudity and a refreshing dose of humour--think Sex and the City meets Coupling, or Dawson's Creek goes to The Book Group. The show takes a while to get going, introducing too many characters too quickly in disorientating fashion, but becomes engrossing entertainment filled with realistically young, aimless and confused, if not very likeable characters. Central to the show is Alex (Claudia Karvan, soon to become much more famous in Star Wars: Episode III) giving a strong performance as an emotional insecure doctor who sets things rolling by having a fling with her best friend's boyfriend. Samuel Johnson meanwhile is the highly sexed struggling novelist whose work in progress, the titular Secret Life of Us offers commentary on the ever more tangled web of romance, deception and friendship. It's Australian drama for those who have outgrown Melbourne's Neighbours. On the DVD: The Secret Life of Us comes to DVD in an anamorphically enhanced 16:9 transfer which looks fine, showing just a little graininess in the darker scenes. The sound is Dolby Prologic and is more than adequate given the small-scale, intimate nature of the production. There are optional subtitles. --Gary S Dalkin
Father Vassey (Michael Rooker) has a problem. Using his two 9mm, laser-sighted cannons, he has tracked down and killed the holders of a heretic ceremony meant to bring a demon into the world. Not just any demon, for this one's reason to be is nothing less than uncreating creation. The problem is, Vassey's too late. The demon has manifested and escaped, and is now on the hunt for the soul of a young boy who is believed to be saint material, due to the stigmata he had at birth. The film is directed by Jamie Dixon, heretofore a special effects supervisor, who shows canny restraint where special effects are concerned. The shadowy demon of the title is depicted often by a fluid black cloud, which is functional without losing its eeriness or credibility. The acting is solid, never campy, though Michael Rooker sometimes feels out of place. And the climactic scenes, built up to with good pacing, are fraught with peril and excitement. All in all, this is a worthwhile effort for a first-time director, and that makes it one of the best direct-to-video releases I've seen in quite a long time. I just wish I could locate the Bram Stoker story it's supposed to be based on. --Jim Gay, Amazon.com
A spine-tingling double feature. A Bucket of Blood (Dir. Roger Corman 1959 66 mins) Coffee bar waiter Walter Paisley (Dick Miller) is hailed as an artist for his amazing lifelike sculptures. Unbeknown to his customers his art is achieved by murdering his models and covering them in clay. Said by many to be cult actor Dick Miller's finest hour A Bucket of Blood is a superb semi-spoof of the dead-bodies-in-the-wax-museum genre. Produced and directed by Roger Corman it is a fine example of macabre humour perfectly capturing the spirit of the beatnik. The Giant Gilla Monster (Dir. Ray Kellog 1959 74 mins) When a Texas town is threatened by a gigantic lizard a singing and swinging teenager kick starts his friends into gear to stop the crazed beast. An enjoyable romp through 1950s science fiction drive-in cheese the sleepy lizard wreaking havoc on miniature sets is no less terrifying than the musical numbers.
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