A relic certainly, but a fascinating one, Der Golem is perhaps the screen's first great monster movie. Though it was actually the third time director-star Paul Wegener had played the eponymous creation, the earlier efforts (sadly lost) were rough drafts for this elaborate dramatisation of the Jewish legend. When the Emperor decrees that the Jews of mediaeval Prague should be evicted from the ghetto, a mystical rabbi creates a clay giant and summons the demon Astaroth who breathes out in smoky letters the magic word that will animate the golem. Intended as a protector and avenger, the golem is twisted by the machinations of a lovelorn assistant and, like many a monster to come, runs riot, terrorising guilty and innocent alike until a little girl innocently ends his rampage. Wegener's golem is an impressively solid figure, the Frankenstein monster with a slightly comical girly clay-wig. The wonderfully grotesque Prague sets and the alchemical atmosphere remain potent. On the DVD: Der Golem on disc has an imaginative menu involving the rabbi opening a book of spells that leads to alternate versions of the film with German or English inter-titles. The print is cobbled from several sources and tinted to the original specifications, with an especially impressive crimson glow as the ghetto burns. The extras are an audio essay, illustrated with clips, on Der Golem and German Expressionist cinema in general, plus a gallery of stills and other illustrations. --Kim Newman
After years of struggling to conceive with her husband Lizzie (Radha Mitchell) has given up hope of having a baby on her own. But when her best friend Andie (Michelle Monaghan Source Code) finds herself pregnant after a one-night stand an unexpected solution arises: Andie offers to have the baby and give it to Lizzie. The couple agrees to the plan on one condition: Andie must move in with them for the duration of the pregnancy. But can the women's friendship survive until birth? Jessie McCormack's debut is a refreshingly candid comedy about planning ahead for life's unexpected detours.
In 2007 the New South Wales government suddenly scrapped a plan to utilise the water in the disused underground train tunnels beneath Sydney's St James Train Station. In 2008, chasing rumours of a government cover-up and urban legends surrounding the sudden back flip, investigative journalist Natasha Warner led a crew of four into the underground labyrinth. They went down into the tunnels looking for a story - until the story found them.
The Specialist: Sharon Stone is May Munro a beauty with a fatal past: she's sworn death to the mobsters who murdered her parents. To do the job she recruits ex-CIA explosive experts Ray Quick (Stallone). Miami grows white-hot as May lures the killers and Ray detonates them into ashes. But a vicious mob boss (Roy Stieger) his brash son (Eric Roberts) and a psychotic hired gun (James Woods) with a lethal grudge against Quick won't go without a fight. The passion the two aven
The legendary Mike Leigh's slice-of-life look at a sweet working-class couple in London introduces us to Shirley and Cyril Cyril's mother who is in the grip of her declining years mother's ghastly upper-middle class neighbours and Cyril's pretentious sister and philandering husband. In due course Shirley wants a baby but Cyril who reads Marx and wants the world to be perfect is reluctant. Then Cyril's mother finds herself stranded forced to turn to her snooty neighbours for help. And when Cyril's sister Valerie stages a surprise party for her Mum's 70th birthday the stage is set for a disaster from start to finish. With Shirley barely holding it all together she may be able to put Cyril's protestations aside after all.
Intolerance is considered the greatest film of the silent era and may well be the greatest film ever made. It has gained this reputation due to its influence on other filmmakers an influence that has become film grammar itself. The man behind the film D.W. Griffith is the acknowledged master of cinematic storytelling the first American director to elevate the movies to the level of serious art. More than 50 years after Griffith's death there is little question of the brillian
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