Miles Pope (Lenny Henry) is a struggling black actor whose life takes a hilarious turn for the worse when he unwittingly discovers a ruthless mobster's most guarded secret. To save his neck Miles enlists the help of an eccentric makeup whiz who concocts a brilliant disguise to conceal his 'true identity'...
The unexpected casting of Tony Curtis as the presumed Boston Strangler, Albert DeSalvo, is only the first of the attractions of this hard-nosed suspense picture. Although the style of The Boston Strangler looks dated today, with its split-screen experiments and post-Bonnie and Clyde permissiveness, the film still has the clean, strong lines of a methodical policier. For the first hour, we don't focus on the Strangler, instead following the Beantown cops (led by Henry Fonda) as they track down leads; the best sequence is the near-accidental connection made between burglary suspect DeSalvo and the killings. Director Richard Fleischer had a forceful hand with true-crime material (Compulsion, 10 Rillington Place) and he takes an unblinking look into the then-taboo subject of sexual pathology. Curtis's physical transformation into a dumpy, dull-eyed brute is the best aspect of his performance; it's a role he lobbied hard for, but it did not lead to more challenging work. --Robert Horton
If you were watching TV in the mid-1970s chances are The Sweeney was one of the weekly highlights and these re-mastered collections will have you pining for a time when the only choice was brown or beige, and a monkey would buy you a lot more than a nice whistle. If, however, these episodes are your first taste of Detective Inspector Jack Regan (John Thaw) and Detective Sergeant George Carter (Dennis Waterman) of the Flying Squad, be warned that you will soon be telling friends to "Shut it!" and scouring the pages of Exchange and Mart for a mint-condition Ford Granada in Tawny Metallic (ironically the choice ride for slags in the show was the Jaguar MK2, later to become so closely associated with Thaw's more cerebral take on policework, Inspector Morse).First aired as 1974's pilot Regan, the show was produced by Thames Television subsidiary Euston Films and ran over four series and 53 episodes. Despite being given strict guidelines on speaking parts, locations and structure, writers were expected to produce scripts very quickly and individual episodes were filmed within 10 working days. Based on this frenetic schedule, the result was a choice parade of slags, blags and assorted lowlife, played out across fantastic London locations with a gritty humour that set the agenda for many of the small-screen cop shows to follow. Regan and Carter manage to fit up a few collars between pints, and even occasionally shed their nylon shirts and flares for a distinctly unromantic interlude between the sheets--brown of course.This first volume of Sweeney highlights starts in relatively sedate style with "Contact Breaker", written by Robert-Banks Stewart and featuring Warren Clarke (when he only had one chin) as wire-specialist Danny Keever. When parolee Keever seems bang-to-rights for a bank job Regan smells a rat and decides to have a closer look at other possibilities, including the ex-con's missus, Brenda (Coral Atkins). The second episode, "Night Out", is a much more feisty affair, despite nearly all the action being confined to the pub inhabited by Iris (Mitzi Rogers), an old flame of Regan's under suspicion for aiding and abetting the break-in going on in the bank next door. Troy Kennedy Martin's script throws in an Old West-style saloon fight, backstreet beatings and even one for old time's sake when Regan and Iris are forced play the waiting game together. "Well", as one character observes, "it is Saturday night"! --Steve Napleton
Sometimes love hurts. Sometimes it kills. Inez Macbeth (Dominique Swain) is married to Edgar (Henry Thomas) a violent petty thief with big ambitions. When her loveless marriage leads to an affair with a gentle young lawyer Edgar retaliates by brutally holding her captive with the help of his best friend Flowers (Arie Verveen). With time running out Inez concocts a desperate escape but does she have the guts to do whatever it takes?
If you were watching TV in the mid-1970s chances are The Sweeney was one of the weekly highlights and these re-mastered collections will have you pining for a time when the only choice was brown or beige, and a monkey would buy you a lot more than a nice whistle. If, however, these episodes are your first taste of Detective Inspector Jack Regan (John Thaw) and Detective Sergeant George Carter (Dennis Waterman) of the Flying Squad, be warned that you will soon be telling friends to "Shut it!" and scouring the pages of Exchange and Mart for a mint-condition Ford Granada in "Tawny Metallic". (Ironically the choice ride for slags in the show was the Jaguar MK2 later to become so closely associated with Thaw's more cerebral take on police work, Inspector Morse.) First aired as 1974's pilot Regan, the show was produced by Thames Television subsidiary Euston Films and ran over four series and 53 episodes. Despite being given strict guidelines on speaking parts, locations and structure, writers were expected to produce scripts very quickly and individual episodes were filmed within 10 working days. Based on this frenetic schedule, the result was a choice parade of slags, blags and assorted lowlife, played out across fantastic London locations with a gritty humour that set the agenda for many of the small-screen cop shows to follow. Regan and Carter manage to fit up a few collars between pints, and even occasionally shed their nylon shirts and flares for a distinctly unromantic interlude between the sheets--brown of course. In "Stoppo Driver", when a gang of villains lose their own driver in a high-speed chase the logical replacement for their next blag is Cooney (Billy Murray), the squad's latest chauffeur who learnt everything he knew from Evel Knievel. Led by Barney ("a tough monkey, plenty of form") the thieves kidnap Cooney's bride on their honeymoon night and blackmail him to help them rob a bent card game. Colin Welland provides the hired muscle in the second episode, "Faces", as renegade ex-marine Tober, visiting the Smoke from Manchester to help a terrorist gang take down four quickfire scores to fund their operations. The Sweeney boys know a hard man when they see one ("he did Smoky Evans with a hatchet") and relish the opportunity for some fisticuffs between styrofoam cups of tea (like "liquid concrete"). Things get messy when a stuck-up intelligence officer tells them the final blag is being faked to rustle out his undercover grass and Regan is forced to stand down, despite having acted on their own pint-sized informant's tip-off: "but it was the dwarf"! --Steve Napleton
Never forgive. Never forget. When his sister turns up missing retired homicide detective Eddie Burns (Rhames) finds himself back on the job and hot on the trail of a sadistic monster (Oldman). But as he finds himself being pulled deeper and deeper into the world of pornography and drugs Burns soon discovers that he has a great deal in common with the prey that he is stalking. And as the renegade lawman squares off with evil personified in the ultimate battle one man will be puni
Othello: Trevor Nunn's masterful interpretation of William Shakespeare's Othello stars Ian McKellan as the conniving treacherous Iago. Othello (acclaimed operatic bass Willard White) is a Moroccan nobleman whose marriage to the lovely and loyal Desdemona is untroubled by jealousy or conflict. That is until his trusted confidante Iago who is envious of Othello's happiness begins to scheme against the couple and ultimately incites a jealous rage in the honorable aristocrat. O
Promising middleweight Wayne 'Thunder' Canter teams up with veteran trainer Percy Banks to contend for the World title. But in the corrupt world of prize fighting he finds that it takes more than talent to make it to the top.
The Harrad College is a teaching experiment where 'free and open' sexual relations are encouraged between students. After a year of living at Harrad College beth harry Sheila and Stanley take the summer off to travel together to test the teachings to see how they work in the outside world.
The savage story of a city stripped naked! Detective Dan Madigan (Richard Widmark) runs roughshod over the police rule book - and over anyone who gets in his way during an intensive 72-hour police manhunt for a hit man. His superior officer Commissioner Anthony Russell (Henry Fonda) lives by and for the book as he copes with the workday problems of police administrative work. These two men's lives come together when the psychotic is cornered in a Manhattan tenement by a police raiding squad led by Madigan and Russell - a confrontation that only one of the two men will survive.
Farewell To Arms (Dir. Frank Borzage 1932): Ernest Hemingway's tragic wartime romance comes to vivid life in this classic 1932 film starring Oscar winners Gary Cooper and Helen Hayes. The cataclysm of WW1 sets the stage for an impassioned story of star-crossed love between a daring American ambulance driver (Cooper) and an English nurse (Hayes) in an army hospital. The tumult of war conspires to push the pair together and then wrench them apart in what becomes an ultimate tes
Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart--Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh.) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. --Tom Keogh
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