From the creator of Wallace & Gromit, the animated tale of chickens planning their great escape from a 1950s chicken farm.
""Warmhearted wise and fiercely funny!"" -The New York Times Brimming with laughter tears and subtle beauty Hannah And Her Sisters is a magnificent ""summation of (Woody Allen's) career to date"" (The New York Times). Winner of three Oscars and featuring a brilliant all-star cast Hannah And Her Sisters spins a tale of three unforgettable women and showcases Allen ""at his most emotionally expansive working on his broadest canvas with masterly ease"" (Newsweek)! The eldest daught
As far as Disney is concerned, The Sword in the Stone was a portent of things to come, with slapstick upstaging storytelling, and cultural in-jokes substituting for wonder. Based on TH White's beloved novel The Once and Future King, this Disney version chronicles King Arthur's boyish adventures. There's much to enjoy here as coach Merlin the magician shows the young Arthur, nicknamed Wart, the skills that will help him become the future ruler of the Britons. The transformation sequences, where the boy is turned into a fish, a bird and a squirrel are vintage Disney. The oft-repeated scene of Merlin battling it out with mean old Madame Mim still is worth a few chuckles, but it underlines the problem with most of the film--most of its scenes are only played for laughs. References by Merlin to television and other items of modern life also mar the generally innocuous landscape. Younger children will like it, while older kids will find it slower compared with recent Disney films. --Keith Simanton, Amazon.com
Death has many faces. Across Westeros and Essos, protagonists look to fill a power vacuum. At Castle Black, Jon struggles to balance the demands of the Night's Watch with those of new arrival Stannis. Meanwhile, Cersei scrambles to hold on to power in King's Landing amidst the Tyrells and the rise of a religious group led by the enigmatic High Sparrow, while Jaime Lannister embarks on a secret mission. Across the Narrow Sea, Arya Stark seeks an old friend, while a fugitive Tyrion finds a new cause. Daenerys finds that her tenuous hold on Meereen requires some hard sacrifices. Special Features Includes over 3 hours of bonus features
George Clooney & Mark Wahlberg star in this spectacular tale of a fishing boat caught at sea during the worse storm ever recorded.
The dramatised story of how Jimmy Perry and David Croft overcame BBC management scepticism, focus groups and cast constipation to get the much-loved series onto air. Running from Perry's initial idea in 1967 until the transmission of the first episode in 1968, this affectionate and witty film shows the beginnings of Perry and Croft's writing partnership and the casting woes, personal clashes and production difficulties that put the show's very existence in jeopardy. It reveals to fans and newcomers alike what went on behind the scenes in the making of Dad's Army and is a true love letter to British creativity.
In the entire history of American movies, The Night of the Hunter stands out as the rarest and most exotic of specimens. It is, to say the least, a masterpiece--and not just because it was the only movie directed by flamboyant actor Charles Laughton or the only produced solo screenplay by the legendary critic James Agee (who also co-wrote The African Queen). The truth is, nobody has ever made anything approaching its phantasmagoric, overheated style in which German expressionism, religious hysteria, fairy-tale fantasy (of the Grimm-est variety), and stalker movie are brought together in a furious boil. Like a nightmarish premonition of stalker movies to come, Night of the Hunter tells the suspenseful tale of a demented preacher (Robert Mitchum, in a performance that prefigures his memorable villain in Cape Fear), who torments a boy and his little sister--even marries their mixed-up mother (Shelley Winters)--because he's certain the kids know where their late bank-robber father hid a stash of stolen money. So dramatic, primal, and unforgettable are its images--the preacher's shadow looming over the children in their bedroom, the magical boat ride down a river whose banks teem with fantastic wildlife, those tattoos of LOVE and HATE on the unholy man's knuckles, the golden locks of a drowned woman waving in the current along with the indigenous plant life in her watery grave--that they're still haunting audiences (and filmmakers) today. --Jim Emerson, Amazon.com
Addiction, nonmonogamy, and female sexual liberation: decades before such ideas were widely discussed, DOROTHY ARZNER (Dance, Girl, Dance), the only woman to work as a director in 1930s Hollywood, brought them to the screen with striking frankness, sophistication, and wita mature treatment that stands out even in the pre-Code era. A Star Is Born's FREDRIC MARCH (in one of four collaborations with Arzner) and SYLVIA SIDNEY (Sabotage) turn in extraordinary performances as the urbane couple whose relationship is pushed to the breaking point by his alcoholism and wandering eyeleading them into an emotionally explosive experiment with an open marriage. Exposing the hypocrisies and petty cruelties simmering beneath the surface of high-society elegance, Merrily We Go to Hell is a scathing early feminist commentary on modern marriage. Special Features: New, restored 4K digital transfer, with uncompressed monaural soundtrack Dorothy Arzner: Longing for Women, a 1983 documentary by Katja Raganelli and Konrad Wickler New video essay by film historian Cari Beauchamp English subtitles for the deaf and hard of hearing PLUS: An essay by film scholar Judith Mayne
Doctor Jonathan Dempsey is sent to Scotland to destroy the myth surrounding the Loch Ness monster. The daughter of his new girlfriend said to possess special mystic powers changes his life forever....
This release contains two suspenseful horror films from the 1960s: VILLAGE OF THE DAMNED and CHILDREN OF THE DAMNED.
In the London of the swinging 60's, a reclusive professor (Jack MacGowran) becomes infatuated with beautiful model Penny Lane (Jane Birkin), the girlfriend of a Svengali like photographer (Iain Quarrier), and embarks on a noble quest to become her champion. To rescue Penny he enters the magical realm of the Wonderwall, and returns to his laboratory a transformed man. The kaleidoscope of images and George Harrison's musical soundtrack catapult the audience into a lost world of innocence, whe...
A performance of the David McVicar production of Mozart's last opera. Colin Davis conducts the Royal Opera Chorus and Orchestra. Recorded at Covent Garden.
Nominated for two Academy-Awards® and considered one of (Woody) Allen's most enduring accomplishments - BoxOffice Manhattan is a wry, touching and finely rendered portrait of modern relationships set against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format) and accompanied by a magnificent Gershwin score. Allen's aesthetic triumph is a prismatic portrait of a time and a place that maybe studied decades hence (Time). Forty-two-year-old Manhattan native Isaac Davis (Allen) has a job he hates, a seventeen-year-old girlfriend, Tracy (Mariel Hemingway), he doesn't love, and a lesbian ex-wife, Jill (Meryl Streep), who's writing a tell-all book about their marriage...and whom he'd like to strangle. But when he meets his best friend's sexy intellectual mistress, Mary (Diane Keaton), Isaac falls head over heels in lust! Leaving Tracy, bedding Mary and quitting his job are just the beginnings of Isaac's quest for romance and fulfilment. In a city where sex is as intimate as a handshake - and the gateway to true love...is a revolving door. Manhattan, 1979 Supporting Actress (Mariel Hemingway); Original Screenplay Product Features Theatrical Trailer
One of Woody Allen's best-loved films, this won three richly deserved Oscars* (for Michael Caine, Dianne West and the screenplay) and is a joy from start to perfectly-judged finish. Hannah (Mia Farrow) is a devoted wife, loving mother and successful actress. She's also the emotional backbone of the family, and her sisters Lee (Barbara Hershey) and Holly (Dianne West) depend on this stability while also resenting it because they can't help but compare Hannah's seemingly perfect life with theirs. But with her husband Elliott (Michael Caine) becoming increasingly interested in Lee, it's clear that Hannah might have problems of her own. An unusually strong supporting cast includes Allen himself as Hannah's existentially-conflicted ex-husband and Max von Sydow as a perfectionist artist, but it's Caine who practically steals the film as a middle-aged man behaving like a lovesick teenager. It also has some of Allen's greatest one- liners, with a philosophical discussion about the nature of good and evil getting shot down with How should I know why there were Nazi's, I don't even know how the can opener works *Best Actor in a Supporting Role (Caine) *Best Actress in a Supporting Role (Wiest) *Best Writing, Screenplay, Written Directly for the Screen Product Features Theatrical Trailer
Dark Passions explode in this steamy sinister love story starring Rachel Ward and Jeff Bridges. Terry Brogan (Bridges) a cynical ex-football star is hired to find Jessie Wyler (Ward) the runaway mistress of a ruthless LA nightclub owner Jake Wise (James Woods). According to Jake Jessie had stabbed him and vanishes with $50 000. But Terry's mission is soon forgotten when he tracks down and falls in love with the beautiful Jessie on a Mexican Island. Trouble brews however when Jake dispatches his henchman Hank Sully (Alex Karras) to bring the lovers back. Driven by passion for the mysterious young woman. Terry quickly finds himself trapped in a complex web of corruption betrayal and murder. Packed with riveting excitement and vivid sensuality. Against All Odds grabs you and never lets go.
Scott Calvin (Tim Allen) has been Santa Claus for the past eight years, and his loyal elves consider him the best Santa ever. But Santa's got problems and things quickly go south when he finds out that his son has landed on this year's "naughty" list!
One of the first films made in Britain by B-movie maestro Herman Cohen, The Headless Ghost is an entertaining example of the teen-horror genre emerging with Cohen's 1957 classic I Was a Teenage Werewolf. Involving the adventures of three young thrillseekers investigating a haunted castle, the film boasts an early role for New Zealand-born Clive Revill and a sensational dance sequence featuring Josephine Blake; it is presented here in a brand-new transfer from the original film elements in its...
Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk". Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is incontestable when he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater".The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson
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