Goldie Hawn, Bette Midler and Diane Keaton prove revenge is a dish best served cold. Former college buddies, they reunite at the funeral of a dear friend who took a swan dive onto Fifth Avenue. All three discover they share the same unhappy history of husbands who dove into middle-age by dumping them for trophy wives. Forming a warring triumvirate, they decide to get even, and along the way remind themselves of long-forgotten capabilities. The action gets a little too "wacky" at times, but the gals are great. Portraying an ageing actress, Hawn is sometimes a little too flamboyant, but there is much fun to be had in her flashiness, especially when she pokes fun at Tinseltown and her persona. Instead of her usual brashness, Midler stretches herself and shows us a woman who is not just unhappy, but also deeply sorrowful. Not that she isn't quick with a wisecrack, but her expressive face alone tells the story of her marriage. As the repressed and guilt-ridden spouse of a self-involved ad executive, Keaton finds her anger, and her voice, when her psychiatrist (Marcia Gay Harden) oversteps ethical boundaries. Watching Keaton grow from an ineffectual homemaker into a powerful businessperson reminds us that it has been far too long since she has done a comedy. Director Hugh Wilson smartly chose supporting players who each brought something unique to the film. However, he does not maintain the first hour's effervescent humour throughout the film, as the ending is weakened by a softening of the wives' resolve. --Rochelle O'Gorman
Nathaniel Parker and Sharon Small star as popular crime-fighting duo Inspector Lynley and DS Havers in the series originally adapted from the novels of Elizabeth George. Episodes Comprise: 1. Pilot: A Great Deliverance (Part 1) 2. Pilot: A Great Deliverance (Part 2) 3. Well-Schooled in Murder 4. Payment in Blood 5. For the Sake of Elena 6. Missing Joseph
One of Woody Allen's best films of the 90s, Bullets Over Broadway stars John Cusack as a virtual Woody surrogate, a neurotic, Jazz Age writer whose new play sounds wooden and unrealistic to a low-level mobster (Chazz Palminteri) assigned to watch over his boss's actress-girlfriend (Jennifer Tilly). When the hood starts contributing better story ideas and dialogue than what the official playwright can conjure, questions (not unlike those of Amadeus) about the price we pay to make art at the expense of other responsibilities are intriguingly raised. Palminteri gives a very interesting performance as the enforcer waking up to the desperate (and almost feminine) demands of his own creative psyche, and Dianne Wiest (who won an Oscar), Tracey Ullman, Jim Broadbent and Jennifer Tilly are very funny together playing the ensemble cast of Cusack's play. --Tom Keogh, Amazon.com
With a cast featuring British film icons Dennis Price, Ian Carmichael and Cecil Parker, screenplay and direction by Anthony Kimmins and a score by legendary composer John Barry, The Amorous Prawn is a stellar feature in every respect. Starring Joan Greenwood as a general's wife whose moneyspinning manoeuvre causes ructions in their Highlands HQ, this entertainingly boisterous comedy adapting Kimmins' long-running West-End stage hit is featured here in a brand-new transfer from the original film elements in its original theatrical aspect ratio.When General Fitzadam receives his final posting in the remote Scottish Highlands, his wife decides to turn their residence into a hotel for wealthy Americans. Unfortunately Lady Fitzadam declines to brief the General on 'Operation Lolly' an attempt to raise the cash needed to buy their dream cottage and smouldering confusion explodes into a full-scale riot when he makes an unexpected return to find amorous advances among the flower beds, suspicious shenanigans in the greenhouse and blatant bribery on the salmon lake!SPECIAL FEATURE:Image GalleryOriginal Promotional Material PDFs
The trials and tribulations of criminal lawyer, Saul Goodman, in the time leading up to establishing his strip-mall law office in Albuquerque, New Mexico.
The trials and tribulations of criminal lawyer, Jimmy McGill, in the time leading up to establishing his strip-mall law office in Albuquerque, New Mexico. Click Images to Enlarge
The remarkable first season of Deadwood represents one of those periodic, wholesale reinventions of the Western that is as different from, say, Lonesome Dove as that miniseries is from Howard Hawks's Rio Bravo or the latter is from Anthony Mann's The Naked Spur. In many ways, Deadwood embraces the Western's unambiguous morality during the cinema's silent era through the 1930s while also blazing trails through a post-NYPD Blue, post-The West Wing television age exalting dense and customized dialogue. On top of that, Deadwood has managed an original look and texture for a familiar genre: gritty, chaotic, and surging with both dark and hopeful energy. Yet the show's creator, erstwhile NYPD Blue head writer David Milch, never ridicules or condescends to his more grasping, futile characters or overstates the virtues of his heroic ones. Set in an ungoverned stretch of South Dakota soon after the 1876 Custer massacre, Deadwood concerns a lawless, evolving town attracting fortune-seekers, drifters, tyrants, and burned-out adventurers searching for a card game and a place to die. Others, particularly women trapped in prostitution, sundry do-gooders, and hangers-on have nowhere else to go. Into this pool of aspiration and nightmare arrive former Montana lawman Seth Bullock (Timothy Olyphant) and his friend Sol Starr (John Hawkes), determined to open a lucrative hardware business. Over time, their paths cross with a weary but still formidable Wild Bill Hickok (Keith Carradine) and his doting companion, the coarse angel Calamity Jane (Robin Weigert); an aristocratic, drug-addicted widow (Molly Parker) trying to salvage a gold mining claim; and a despondent hooker (Paula Malcomson) who cares, briefly, for an orphaned girl. Casting a giant shadow over all is a blood-soaked king, Gem Saloon owner Al Swearengen (Ian McShane), possibly the best, most complex, and mesmerizing villain seen on TV in years. Over 12 episodes, each of these characters, and many others, will forge alliances and feuds, cope with disasters (such as smallpox), and move--almost invisibly but inexorably--toward some semblance of order and common cause. Making it all worthwhile is Milch's masterful dialogue--often profane, sometimes courtly and civilized, never perfunctory--and the brilliant acting of the aforementioned performers plus Brad Dourif, Leon Rippy, Powers Boothe, and Kim Dickens. --Tom Keogh, Amazon.com
Although it lacks the creepy subtleties of Stephen King's celebrated novel, George Romero's underrated adaptation of The Dark Half is among the best films based on King's fiction, with Romero taking care to honour the central theme while serving up some gruesome gore in the film's much-criticised finale. Inspired by King's own admission that he wrote several novels under the pseudonym Richard Bachman, The Dark Half explores the duality of a writer's impulse, ranging from literary respectability to the viscerally cathartic thrills of exploitative pulp fiction. Author and teacher Thad Beaumont (Timothy Hutton) finds himself torn between those extremes when he "kills" his profitable alter ego, George Stark (the bestselling dark half to Thad's light), who then assumes evil, autonomous form (again played by Hutton) to defend lethally his role in Thad's creative endeavours. Forced to wrestle with this evil manifestation of his own unformed twin, Thad must fight to protect his wife (Amy Madigan), their twin babies and himself. While Romero skilfully develops the twin/duality theme to explore the writer's dilemma, Hutton is outstanding in his dual roles, playing Stark (in subtly fiendish makeup) as a redneck rebel with a knack for slashing throats. Julie Harris adds class in a supporting role, and horror fans will relish Romero's climactic showdown, in which swarms of sparrows seal Stark's fate. It favours a pulp sensibility with clunky exposition to explain Stark's existence, but The Dark Half is a laudable effort from everyone involved. --Jeff Shannon, Amazon.com
TBC
When a pair of mismatched, high-powered New York divorce attorneys wake up as man and wife after a particularly drunken night out, sparks start to fly - and not only in the court room.
Tremors didn't actually break any new ground (even though its tunnelling worm monsters certainly did), but it revved up the classic monster-movie formulas of the 1950s with such energetic enthusiasm and humour that it made everything old seem new again. It also has a cast full of enjoyable actors who clearly had a lot of fun making the film, and director Ron Underwood strikes just the right balance of comedy and terror as a band of small-town rednecks battle a lot of really nasty-looking giant worms. The special effects are great, the one-liners fly fast and furious between heroes Kevin Bacon and Fred Ward (and yes, that's country star Reba McEntire packin' awesome firepower), and it's all done with the kind of flair one rarely associates with goofy monster flicks like this. --Jeff Shannon
In 1947, the world famous sleuth has retired to a remote Sussex farmhouse, living in relative anonymity with only his housekeeper Mrs Munro and her young son Roger for company. Cantankerous, demanding and frustrated with the mis-representation of him in Watson’s best-selling novels, he diverts his attention to an unsolved case. As the mystery deepens, Sherlock tries desperately to recall the events of 30 years ago that ultimately led to his retirement.
The trials and tribulations of criminal lawyer, Jimmy McGill, in the time leading up to establishing his strip-mall law office in Albuquerque, New Mexico. Click Images to Enlarge
Volume 1 includes: 'The Tale of Peter Rabbit & Benjamin Bunny' 'The Tale of Flopsy Bunnies & Mrs. Tittlemouse' and 'The Tale of Tom Kitten and Jemima Puddleduck'.
Bridget Mordaunt a young woman in 1880s Britain inherits a factory from her father and wins respect from the workforce as she turns it into a solid business yet all the while a dark cloud looms on the horizon...
Experienced coroner Tommy Tilden and his grown-up son Austin run a family-owned morgue and crematorium in Virginia. When the local Sheriff brings in an emergency case an unknown female corpse nicknamed Jane Doe', found in the basement of a home where a multiple homicide took place it seems like just another open-and-shut case. But as the autopsy proceeds, these seasoned professionals are left reeling as each layer of their inspection brings frightening new revelations. Perfectly preserved on the outside, Jane Doe's insides have been scarred, charred and dismembered seemingly the victim of a horrific yet mysterious ritualistic torture. As Tommy and Austin begin to piece together these gruesome discoveries, an unnatural and terrifying force takes hold of the crematorium. While a violent storm rages above ground, it seems the real horrors lie on the inside THE AUTOPSY OF JANE DOE is directed by André Ãvredal (Trollhunter, Mortal). The film is produced by Fred Berger (LA LA LAND). The cast is led by Brian Cox (Manhunter, Braveheart, RED, The Escapist, Churchill) as seasoned coroner Tommy Tilden, Emile Hirsch (Killer Joe, Speedracer, Into The Wild, Lone Survivor) as Tommy's grown up son Austin, Ophelia Lovibond (Guardians of the Galaxy, Nowhere Boy, Man Up) as Austin's girlfriend, Michael McElhatton (Game of Thrones, The Hallow) as Sherriff Burke and Olwen Kelly as Jane Doe.
Two teenage girls Janey and Lynne dream of being selected as the new 'DTV' dance regulars so they attend an open audition. There they meet two teenage boys Drew and Jeff who have the same idea...
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