Vincent Gallo's infamously controversial road movie details the empty existence of motorcycle racer Bud Clay (Gallo) as he drives seemingly endlessly cross-country before a chance encounter with similarly emotionally suffocated Daisy (Sevigny) leads to an explosion of sexual violence...
London 1940: As the Blitz rages and her future is threatened by fallout from the war, Agatha Christie makes the decision to kill off her most famous creation. After twelve Poirot novels in six years, Agatha should be a rich woman. Instead, she s struggling to make ends meet. Killing Poirot in the midst of this turmoil seems almost spiteful, but Agatha has a plan: she's selling the novel to a private buyer, a superfan who will pay anything to own a piece of history. A meeting at an infamous London hotel is arranged, where despite the presence of an old friend, things quickly go wrong. As the bombs fall and the bodies pile up, the real danger of her situation becomes apparent: the only thing more valuable than the last ever Poirot novel is the last ever book written by Agatha Christie.
The four films in this Agatha Christie Murder Mystery Collection demonstrate exactly why Christie's reassuringly formulaic whodunits have been extraordinarily resilient source material. In each we find a corpse (or several), an assorted group of suspects gathered in a self-contained location, all with a motive to commit murder, and the coincidental presence of the totem detective (Poirot or Miss Marple). Between 1974 and 1981, producers John Brabourne and Richard Goodwin mined the Christie seam for some of its ripest riches. Murder on the Orient Express (1974), directed by Sidney Lumet, features a cavalcade of stars including Ingrid Bergman, Lauren Bacall, John Gielgud and Sean Connery; while Christie herself gave Albert Finney's Poirot her blessing. The Art Deco setting exudes glamour; the plot is preposterously diverting; the lighting, silvery and washed-out, giving the suspects an appropriately grim and ghoulish air. With a superior Anthony Shaffer screenplay Death on the Nile (1978) saw Peter Ustinov taking over as Poirot. The backdrop of ancient Egyptian monuments helps bring this adaptation a touch of class, complemented by composer Nino Rota's epic theme tune. The Mirror Crack'd (1980) features Elizabeth Taylor and Kim Novak as rival Hollywood legends descending on a quaint English village to make a film, with Rock Hudson as Taylor's husband and Angela Lansbury as a rather unconvincingly robust Miss Marple. Shaffer returned to the fray, adapting Evil Under the Sun (1981) and moving Poirot from the Cornish Riviera to an island off the coast of Albania. Ustinov reprises his role and Maggie Smith returns, camper than ever, as the hotel owner inconvenienced by murder. On the DVD: It's a pity that the sound quality hasn't been sharpened up, though: Murder on the Orient Express sometimes evokes memories of the muffled incoherence of an old fleapit. Apart from trailers, extras are few and far between. There are no cast lists or filmographies. But Death on the Nile and Evil Under the Sun both feature interesting short promotional "'making of"' documentaries in 4:3 format. --Piers Ford
Vincent Gallo's infamously controversial road movie details the empty existence of motorcycle racer Bud Clay (Gallo) as he drives seemingly endlessly cross-country before a chance encounter with similarly emotionally suffocated Daisy (Sevigny) leads to an explosion of sexual violence...
Irresponsible. Unpredictable. Totally irresistible! Gary Starke (Garcia) can get his hands on just about anything: floor level seats at a Knick's basketball game entrance to an exclusive art gallery or first-row concert tickets. But the one thing Gary can't seem to get is the girl of his dreams... Longtime New York con man Gary is a king among scam artists but a loser in life. The only thing he has going for him is Linda (MacDowell) a stunning chef-in-the-making with a soft sp
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