Sam Peckinpah's classic road movie CONVOY (1978) based on a song by C.W. McCall's hit song of the same name stars Kris Kristofferson and Ali McGraw. A mighty convoy of dust-raising trucks heads for a state line in South-western America. The massive collection of vehicles all shapes and sizes are led by Rubber Duck' (Kris Kristofferson) A legendary trucker who has gathered this vast army together in protest police corruption, federal and states laws and shady politicking. The law is bearing down on truckers and Forcing them to obey unrealistic speed limitations which rob them of precious time and money. The national guard, The Army, the Police and the feds are all out to halt the truckers, but the truckers don't want to stop!
College: Coming hard on the heels of Keaton's comic masterpiece 'The General' this was a relaxing romp in both setting and approach after the exacting precision of the American Civil War comic-drama. (Dir. James W. Horne 1927) Steamboat Bill Jr.: Steamboat Bill is William Canfield (Ernest Torrence) the larger-than-life owner of the stern-wheeler 'Stonewall Jackson' which he has operated for many years with his first (and only) mate played by Tom Lewis. Almost the e
Based on Charles Dickens' epic novel, this critically acclaimed film version stars Dirk Bogarde and Dorothy Tutin in the unforgettable tale of the French Revolution.
"When cattle rancher Shep Horgan (Ernest Borgnine) finds Jubal Troop (Glenn Ford) half-dead in a mountain pass, he rescues the drifter and offers him good honest work on his ranch. Shep is a good man - but his beautiful young bride Mae (Valerie French) is pure poison. She's been catting around with ranch hand Pinky (Rod Steiger) - and now she's got eyes only for Jubal. When Jubal is appointed ranch foreman, Pinky swears revenge. He convinces Shep that Jubal is sleeping with his wife. For a proud man like Shep, there's only one thing to do - pick up his Winchester and sort things out man-to-man..."
A model for dozens of action films to follow, this box-office hit from 1967 refined a die-hard formula that has become overly familiar, but it's rarely been handled better than it was in this action-packed World War II thriller. Lee Marvin is perfectly cast as a down-but-not-out army major who is offered a shot at personal and professional redemption. If he can successfully train and discipline a squad of army rejects, misfits, killers, prisoners, and psychopaths into a first-rate unit of specialised soldiers, they'll earn a second chance to make up for their woeful misdeeds. Of course, there's a catch: to obtain their pardons, Marvin's band of badmen must agree to a suicide mission that will parachute them into the danger zone of Nazi-occupied France. It's a hazardous path to glory, but the men have no other choice than to accept and regain their lost honor. What makes The Dirty Dozen special is its phenomenal cast including Charles Bronson, Donald Sutherland, Telly Savalas, George Kennedy, Ernest Borgnine, John Cassavetes, Richard Jaeckel, Jim Brown, Clint Walker, Trini Lopez, Robert Ryan, and others. Cassavetes is the Oscar-nominated standout as one of Marvin's most rebellious yet heroic men, but it's the whole ensemble--combined with the hard-as-nails direction of Robert Aldrich--that makes this such a high-velocity crowd pleaser. The script by Nunnally Johnson and Lukas Heller (from the novel by E.M. Nathanson) is strong enough to support the all-star lineup with ample humour and military grit, so if you're in need of a mainline jolt of testosterone, The Dirty Dozen is the movie for you. --Jeff Shannon
Created and written by Sid Green (Morecambe and Wise: Two of a Kind, The Strange World of Gurney Slade) Mixed Blessings stars Christopher Blake (That s My Boy) and Muriel Odunton as a mixed-race couple struggling to placate their disapproving and constantly bickering families. This popular and for its time provocative series also stars much-loved sitcom stalwarts Carmen Munroe (The Fosters), Joan Sanderson (Please Sir!), and Ernest Clark (Doctor...). Graduates Thomas Simpson and Susan Lambert are young lovers who are about to embark on married life, but their happiness is tempered by a deep trepidation. Social worker Susan is black, and out-of-work engineer Christopher is white... and breaking the news of the marriage to their respective families is only the beginning of their problems! Exasperated by the anxieties of both sets of in-laws, the newlyweds decide to take up an offer of accommoda-tion from Christopher's sympathetic aunt, Dorothy the only relative who believes the marriage will actually work...
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A box set of classic film gems from Ealing studios Includes: 1. The Ladykillers (Dir. Alexander Mackendrick 1955) 2. The Man in The White Suit (Dir. Alexander Mackendrick 1951) 3. The Magnet (Dir. Charles Frend 1950) 4. Scott of The Antarctic (Dir. Charles Frend 1948)
As accomplished as it is superfluous, Willard is a stylish horror film with plenty of style but precious little horror. Genre buffs will appreciate it as a visually superior sequel/remake of its popular 1971 predecessor, giving Crispin Glover a title role perfectly suited to his uniquely odd persona, in the same league as Psycho's Norman Bates. This time, Willard's the psychotically lonely son of the original film's now-deceased protagonist: a milquetoast introvert who befriends an army of obedient rats--lethal allies when Willard's pushed to his emotional breaking point by his abusive boss (R. Lee Ermey). In keeping with his memorably macabre episodes of X-Files, writer-director Glen Morgan excels with dreary atmosphere and mischievously morbid humor (including an ill-fated cat named Scully), and Glover gives his best performance since River's Edge. But even the furry villain Ben--an oversized rat with attitude--is more funny than frightful. With some justification, Glover's fans will appreciate the open door to a sequel. --Jeff Shannon
Experience the dazzling story of cinematography as seen through the lenses of the world's greatest filmmakers and captured in classic scenes from over 125 immortal movies. Discover Gordon Willis's secrets of lighting Marlon Brando in The Godfather and Greg Toland's contributions to Citizen Kane. Hear William Fraker on filming Rosemary's Baby; Vittorio Storaro on his use of colour and light in Apocalypse Now; and much much more. From black and white to Te
The ups and downs of Flo Ziegfeld who produced ever more bigger and spectacular shows and revues throughout his life...
Dr. Peter Brady (Tim Turner) is a brilliant English scientist who working with the principles that govern the reflection of light has developed a theory that every form of matter can be reduced to invisibility just as a jellyfish becomes invisible in water. During an accident in the laboratory Brady himself becomes invisible but his experiments have not yet gone far enough for him to reverse the process and regain visibility!
Between bouts of wit with Ranger Smith Yogi juggles a little romance with Cindy Bear. Because of her fondness for Yogi Cindy finds herself the victim of an evil circus impresario. He has her performing dangerous feats on a high wire while his demented pooch looks on with mad laughter. It is up to Yogi and his sidekick Boo Boo to save her.
Sam Peckinpah's classic road movie CONVOY (1978) based on a song by C.W. McCall's hit song of the same name stars Kris Kristofferson and Ali McGraw. A mighty convoy of dust-raising trucks heads for a state line in south-western America. The massive collection of vehicles all shapes and sizes are led by Rubber Duck' (Kris Kristofferson), a legendary trucker who has gathered this vast army together in protest police corruption, federal and states laws and shady politicking. The law is bearing down on truckers and forcing them to obey unrealistic speed limitations which rob them of precious time and money. The national guard, the Army, the Police and the feds are all out to halt the truckers, but the truckers don't want to stop!Extras:NEW Interview with Franklyn AjayeNEW Audio Commentary by filmmaker/Peckinpah scholar Mike SiegelNEW Video Essay: The Lost ConvoyNEW The Duck TrucksNEW Promoting Convoy : animated gallery of international posters and lobby cardsNEW Convoy colour stills: 120 rare colour photosNEW Filming Convoy pt 1: White Sands & the Truck stop: 100 rare bts photosNEW Filming Convoy pt 2: The Trucks are rolling: 100 rare bts photosNEW Filming Convoy pt 3: Showdown in Alvarez: 100 rare bts photosOriginal US trailerAudio commentary by film historians Paul Seydor, Garner Simmons, and Nick RedmanPassion & Poetry Sam's Trucker MovieU.S. TV SpotU.S. Radio Spots x 4Three Lost ScenesInjokes, Friends & CameosTrucker Notes from NorwayTrailer
In a gripping tale of courage resourcefulness and determination the consequences of a plane crash strip bare the morals of the survivors. The pilot of the doomed aircraft Frank Towns (James Stewart) is an aviator of the old school used to seat-of-the-pants flying distrustful of new technology. With his navigator Lew Moran (Richard Attenborough) he is piloting a cargo-cum-passenger plane high above the Arabian desert when a powerful sandstorm rises from below. Trusting his instincts Frank decides to fly through and above the storm; a risky move which leads to the starboard engine overheating and catching fire shortly followed by the demise of the port engine. Without power the plane begins a long dive towards the ground a sequence memorably intercut with the opening credits before impacting messily. Staggering from the wreckage the living find themselves deep within the Arabian desert far off their original flight plan and with little hope of rescue. Two of their number were killed instantly while a third (a young oil-worker) has been gravely wounded - right from this beginning the crosses of the dead loom over those left alive. Frank blames himself bitterly for this tragedy (correctly so from an objective perspective) but still tries to exert some authority over the rabble and provide reassurance. Since they have enough water for about ten days according to Dr.Renaud (Christian Marquand) and plenty of dates as food Frank and Lew spin the yarn that they will surely be found by search aircraft. Meanwhile a pecking order emerges among the men (a mix of oil-workers soldiers technical personnel and the aircrew) with the more learned/respected exerting control over the manual workers. As time passes the situation becomes increasingly bleak and Captain Harris (Peter Finch) decides to march to the nearest oasis with Sgt.Watson (Ronald Fraser) who is less than keen on the idea. In fact Sgt.Watson manages to fake a sprained ankle just to get out of the desert trip (a move symptomatic of his hatred of the military) and his superior leaves with another passenger. Unfortunately another survivor Trucker Cobb (Ernest Borgnine) is so deranged that he staggers after the departed pair. Frank is still so wracked with guilt that he goes after Cobb risking his own life in the brutal midday heat and fails once again in his task. Just when the situation looks irretrievably lost Heinrich Dorfmann (Hardy Kruger) comes up with an audacious idea - why not build a smaller plane from the debris of the first? Initially he is ridiculed both for being German and for having such a crackpot scheme but attitudes change slightly when he reveals that he is actually an aircraft designer. Once again there is hope no matter how slim that they won't become vulture food - just as long as the struggle for control between Frank and Heinrich doesn't destroy the entire enterprise...
The first British film ever to be labelled "horrific" (as well as being the first British horror with sound) The Ghoul is presented here for the first time in High Definition in a restoration from original film elements in its original aspect ratio. Starring Boris Karloff Cedric Hardwicke and Ralph Richardson this landmark film is a key title in any horror film collection. An eminent dying Egyptologist has purchased a precious stone stolen from an Egyptian tomb which he believes will appease the ancient gods after his death if they are buried together. When the stone is stolen from his tomb he returns as a ghoul – furious at the theft and hell-bent on wreaking revenge upon those responsible! Bonus Features: Feature commentary by horror experts Kim Newman and Stephen Jones Extensive image galleries Commemorative booklet by Stephen Jones
The King Of Kings is the Greatest Story Ever Told as only Cecil B. DeMille could tell it. In 1927 working with the biggest budget in the history of Hollywood DeMille spun the life and Passion of Christ into one of the highest-grossing films of all time. Featuring text drawn directly from the Bible a cast of thousands and a cinematic bag of tricks that could belong to none other than Hollywood's greatest showman The King Of Kings is at once spectacular and deeply reverent-part Gospel part Technicolor epic.
Hands down, this is the best movie (and was one of the first) to come out of the seemingly endless cycle of disaster movies that dominated box offices during the 1970s. It could even be argued that Titanic owes some of its success to the precedent set by this 1972 blockbuster starring Gene Hackman as a priest who leads a small group of survivors to safety from the bowels of a capsized luxury liner. From its stellar cast to its cheesy, Oscar-winning theme song, The Morning After, the movie has all the ingredients of a popular classic, beginning with a New Year's Eve celebration aboard the ill-fated Poseidon and ending as a pop allegory when the Hackman character becomes a Christ-like martyr. Filmed on spectacular sets where everything down is up and the ship's thick hull points in the direction of salvation, this is "a waterlogged Grand Hotel" (in the words of New Yorker film critic Pauline Kael) that is as entertaining as it is unabashedly brainless. The Poseidon Adventure is filled with performances that rise above the limits of the screenplay. It's also the only movie--unless you count her underwater corpse in Night of the Hunter--that lets Shelley Winters strut her stuff as an aquatic heroine. Who could ask for anything more? --Jeff Shannon
From a match made in heaven comes a movie spawned in hell! From Dusk Till Dawn sees young hotshot director Robert Rodriquez (El Mariachi, Desperado) team up with Pulp Fiction auteur Quentin Tarantino (offering his services as writer and costar) to make this outrageous, no-holds-barred hybrid of high-octane crime and gruesome horror. Tarantino plays Richard Gecko, a borderline psychopath who breaks his career-criminal brother, Seth (George Clooney), out of prison, after which they rob a bank and leave a trail of dead and wounded in their bloody wake. Then they hijack a mobile home driven by a former Baptist minister (Harvey Keitel) who quit the church after his wife's death and hit the road with his two children (played by Juliette Lewis and Ernest Liu). Heading to Mexico with their hostages, the infamous Gecko brothers arrive at the Titty Twister bar to rendezvous for a money drop, but they don't realise that they've just entered the nocturnal lair of a bloodthirsty gang of vampires! With not-so-subtle aplomb, Rodriguez and Tarantino shift into high gear with a non-stop parade of gore, gunfire and pointy-fanged mayhem featuring Salma Hayek as a snake-charming dancer whose bite is much worse than her bark. If you're a fan of Tarantino's lyrical dialogue and pop-cultural wit, you'll have fun with the road-film half of this supernatural horror-comedy, but if your taste runs more to exploding heads and eyeballs, sloppy entrails and morphing monsters, the second half provides a connoisseur's feast of gross-out excess. --Jeff Shannon, Amazon.comOn the DVD: the DVDs lavish features on us. The outtakes and deleted scenes are more of the same--exploding bellies, pus, blood and naked women with large teeth. The documentary "Full Tilt Boogie" is entertaining enough; the row with the unions, which it faithfully records, raises real issues about independent filmmakers and their work force. There are two music videos, a stills gallery, a reasonably acute commentary by Rodriguez and Tarantino and material about the art direction. The film is presented in Dolby Digital and a widescreen ratio of 1.85:1 as well as an ordinary one of1.33.1. --Roz Kaveney
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