The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: This ambitious TV series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there is the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood.The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his mid-level capo's machismo, yet instantly recognisable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.Unlike Francis Coppola's operatic dramatisation of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchman and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed.The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr Melfi, a convincing confidante, by turns "professional", perceptive and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what is not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland, Amazon.com
The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: This ambitious TV series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there is the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood.The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his mid-level capo's machismo, yet instantly recognisable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.Unlike Francis Coppola's operatic dramatisation of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchman and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed.The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr Melfi, a convincing confidante, by turns "professional", perceptive and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what is not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland, Amazon.com
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
A beautiful young medical student probes into the mind of a madman until his paranoia becomes her nightmare... A dedicated young medical student is assigned to probe into the mind of Don Wake a patient at a psychiatric hospital loaded with secrets. She pushes him to reveal the truth about the brutal murder of his mother but Don instead warns her of danger looming in the outside world including a mysterious and threatening man named Malachi. Don pleads with her to break him out of
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
Features the episodes 'House Arrest' 'Knight in White Satin' and 'Armour Funhouse'. Tony Soprano impacts many people. Dr. Melfi steels herself with vodka before sessions with the trouble capo di tutti. The eyes of Richie Aprile become hate-filled Manson lamps as he schemes to cap the capo. Uncle Corrado (Dominic Chianese) is still allowed to pull strings that aren't there. Pussy is playing junior G-Man to nail his boss to an indictment. But the person Tony impacts the most is Tony. He's a tormented work in progress - a torment that would lessen if Richie took a permanent nap. Janice took a bus back to Seattle and Pussy took a boat ride from which he didn't return. So guess what happens?
The FBI take an unhealthy interest in the family's life causing more strain on life. If that's not enough the world of movie making seems to be poking its nose in. Skeletons come out the closet causing huge revelations... Golden Globe winners January 2000 for Best Actor (James Gandolfini) Best Actress (Edie Falco) and Best Supporting Actress (Nancy Marchand).
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: this ambitious TV series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there is the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood.The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his mid-level capo's machismo, yet instantly recognisable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.Unlike Francis Coppola's operatic dramatisation of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchman and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed.The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr Melfi, a convincing confidante, by turns "professional", perceptive and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what is not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland, Amazon.com
The Sopranos, writer-producer-director David Chase's extraordinary television series, is nominally an urban gangster drama, but its true impact strikes closer to home: This ambitious TV series chronicles a dysfunctional, suburban American family in bold relief. And for protagonist Tony Soprano, there is the added complexity posed by heading twin families, his collegial mob clan and his own, nouveau riche brood.The series' brilliant first season is built around what Tony learns when, whipsawed between those two worlds, he finds himself plunged into depression and seeks psychotherapy--a gesture at odds with his mid-level capo's machismo, yet instantly recognisable as a modern emotional test. With analysis built into the very spine of the show's elaborate episodic structure, creator Chase and his formidable corps of directors, writers and actors weave an unpredictable series of parallel and intersecting plot arcs that twist from tragedy to farce to social realism. While creating for a smaller screen, they enjoy a far larger canvas than a single movie would afford, and the results, like the very best episodic television, attain a richness and scope far closer to a novel than movies normally get.Unlike Francis Coppola's operatic dramatisation of Mario Puzo's Godfather epic, The Sopranos sustains a poignant, even mundane intimacy in its focus on Tony, brought to vivid life by James Gandolfini's mercurial performance. Alternately seductive, exasperated, fearful and murderous, Gandolfini is utterly convincing even when executing brutal shifts between domestic comedy and dramatic violence. Both he and the superb team of Italian-American actors recruited as his loyal (and, sometimes, not-so-loyal) henchman and their various "associates" make this mob as credible as the evocative Bronx and New Jersey locations where the episodes were filmed.The first season's other life force is Livia Soprano, Tony's monstrous, meddlesome mother. As Livia, the late Nancy Marchand eclipses her long career of patrician performances to create an indelibly earthy, calculating matriarch who shakes up both families; Livia also serves as foil and rival to Tony's loyal, usually level-headed wife, Carmela (Edie Falco). Lorraine Bracco makes Tony's therapist, Dr Melfi, a convincing confidante, by turns "professional", perceptive and sexy; the duo's therapeutic relationship is also depicted with uncommon accuracy. Such grace notes only enrich what is not merely an aesthetic high point for commercial television, but an absorbing film masterwork that deepens with subsequent screenings. --Sam Sutherland, Amazon.com
America has become a society steeped in violence and most decent ordinary people are sick of it. Or are they? From two of the world’s most controversial filmmakers Quentin Tarantino and Oliver Stone comes one of the most controversial films ever made. Meet Mickey (Woody Harrelson) and Mallory (Juliette Lewis) - the most terrifying and relentless cold-blooded killers imaginable. Rejected by society these two lost souls embark on a murderous rampage. But as the body count soars so too does their notoriety and before long the greedy tabloid press has made them into cult heroes. In the media circus of life Mickey and Mallory have just become the main attraction...
Disc One: Here's Edie Pilot: Dick Shawn, Andre Previn New York: Duke Ellington and His Orchestra, Peter Falk, the Claremont String Orchestra London: Sir Michael Redgrave, the Piccadilly Buskers, the Grenadier Guards, the Third Air Force Band, and the children of London Bossa Nova: Stan Getz, Laurindo Almeida, the Roger Wagner Chorale, Jerry Fielding and His Orchestra (plus cameros by Don Rickles and Cesar Romero) Las Vegas: Charlie Barnet. The Eligibles, the Earl Barton Dancers, Jerry...
The Corsican Brothers were bound so closely together that when one was hurt the other felt the pain; however Cheech and Chong shed new light on Dumas' classic story of the Revolution! Follow our heroes in this anything-goes comic romp through 18th Century France - a France in which the word pervert is taken as a compliment by the aristocracy in a court where depravity rules... and with them it's OK! Together the Brothers battle against misfortune - never wavering from their motto: Life Liberty and the Pursuit of Women!
When her son disappears and is believed dead, a single mother blames an African-American man from the projects for the kidnapping.
King Of The Cage . . . Bigger badder better. Hosted by Ken Shamrock Edie Bravo and Richard Norton announced by the voice of mixed martial arts Mr. Bruce Buffer and with justice enforced by referee Larry Landless the ""Main Event"" of Mixed Martial Arts is back! From big knockouts to technical submissions this is a fight-lover's dream . . . Boxing Jiu Jitsu . . .Muay Thai . . . Wrestling . . .""KOTC"" has it all. Featuring only professional elite fighters from around the globe
The Waterboy: (Dir. Frank Coraci) (1998): Just an oddball mama's boy who grew up on a farm Bobby Boucher (Sandler) never wanted anything more than to quench the thirst of the dehydrated athletes who treat him like dirt! But when Coach Klein (Henry Winkler) makes the call that allows Bobby to finally stand up for himself it unleashes a torrent of bottled-up frustration and exposes a talent for defense that transforms him from a meek ""water distribution engineer"" to the hardest hitter ever to roam the athletic playing field!Hollywood's wild and zany funnyman Adam Sandler scores big laughs in a smash comedy hit where the laughs never run dry! Just an oddball mama's boy who grew up on a farm Bobby Boucher (Sandler) never wanted anything more than to quench the thirst of the dehydrated athletes who treat him like dirt! But when Coach Klein (Henry Winkler) makes the call that allows Bobby to finally stand up for himself it unleashes a torrent of bottled-up frustration and exposes a talent for defense that transforms him from a meek ""water distribution engineer"" to the hardest hitter ever to roam the athletic playing field! Holy Man: (Dir. Stephen Herek) (1998): A stressed out senior executive at the Good Buy home shopping channel Ricky Hayman (Goldblum) is praying for a miracle that will lift the network's lousy ratings and save his job. Then from out of nowhere ""G"" (Murphy) walks into his life! An outrageous self-styled inspiration guru with a knack for showing up where he isn't exactly wanted ""G"" proceeds to wander in front of the cameras just long enough to exude the irresistible star quality that will make him the sales-boosting saviour Ricky's network has been looking for!
When an antiquated railway line is threatened with closure the villagers decide to run it themselves and enter into frenzied competition with the local bus route with hilarious consequences! Director Charles Crichton and writer Tibby Clarke team up again for the first Ealing comedy to be produced in Technicolor. The defiance of authority by local inhabitants was a favourite topic in the 40's and 50's and embellishes the characteristic Ealing theme - 'small is beautiful and big is bad'.
Award winning black comedy with Edie Falco (The Sopranos), Eve Best (The King's Speech), Peter Facinelli (Twilight) and Paul Schulze (The Sopranos).Jackie Peyton is an ER Nurse with a difference. She's an angel of the wards with flaws; bending the rules to ensure justice is done for the patients that go through her care. But she's also juggling a serious drug addiction and a complicated family life. Season 3 sees her carefully separated worlds come crashing together.
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