The classic BBC 6 part adaptation of the much-loved novel by Philipp Pearce. Sent to stay with his aunt and uncle for the summer, Tom Long finds himself alone and bored. Lying in bed one night he hears the old grandfather clock in the hall strike thirteen. He ventures downstairs to investigate, opens the door and is magically transported back in time to a Victorian garden and an incredible adventure. Features: New interview with Director Christine Secombe
Perhaps best known as the writer of Alain Resnais' classic cine-conundrum Last Year of Marienbad, Alain Robbe-Grillet was also the director a number of stylish, controversial and erotic films which starred such icons of French cinema as Jean-Louis Trinignant (Haneke's Amour, Bertolucci's The Conformist), Marie-France Pisier (Truffaut's Stolen Kisses and Bed and Board) and Isabelle Huppert (Claire Denis' White Material, Haneke's Amour). Impossible to see for decades, these enigmatic, sexually.
In He Loves Me, He Loves Me Not the adorable Audrey Tautou from Amelie plays the central role in a deceptive story of a rather unusual romance. It would spoil the film's clever design to reveal what happens halfway through, so let's just say that Tautou is cast as a winsome girl in the sunny town of Bordeaux whose relationship with a married doctor has more layers than first it seems. Samuel LeBihan, from Brotherhood of the Wolf, plays the doctor, but it's the casting of cutie-pie Tautou that sets up the movie's gradually sinister undertow. Director Laetitia Colombani's inventive structure plays a satisfyingly tricky game with the audience, and may have some viewers going back to the beginning to make sure they saw what they thought they saw. Just don't go in expecting Amelie, Deuxième Partie and you should find this an ingenious little number. --Robert Horton
Brigitte and Ginger Fitzgerald are a pair of weird sisters obsessed by death. When Ginger is attacked by a vicious beast and starts to display the signs of someone turning into a werewolf, her sister concocts a plan to reverse the process.
Based on the Johnson County War of 1892 Michael Cimino's epic western is now hailed as a masterpiece of American Cinema and is presented here in its newly and definitive director's cut. Harvard graduate James Averill has returned to Wyoming as a Marshall and is facing growing divisions and escalating tensions in the local community. The powerful government-backed cattle barons are waging war on the immigrant settlers they brand 'thieves and anarchists' and are drawing up a 'death list' for their hired mercenaries to act upon. As hostilities mount the inevitability of a full-scale and blood war edges even closer. Special Features: New Interview with Jeff Bridges New Interview with Cinematographer Vilmos Zsigmond Extracts from 'Final Cut: The Making and Unmaking of Heaven's Gate' - Michael Epstein's Acclaimed Documentary Based on Steven's Bach book
The two best horror baddies in a showdown to make you squirm. Freddy comes back from Hell as the notorious Jason takes on Elm Street in his own style.
An unexpected critical (Grand Prix at Cannes) and commercial (three months in London's West End) success on its release in 2001, The Piano Teacher is a provocative, but ultimately frustrating, film. The intensifying relationship between Erika Kohut, a Viennese piano teacher whose musical focus is gradually undone by sexual repression, and Walter Klemmer, her uninhibited but unsuspecting student and admirer, lacks an underlying motivation, either physical or emotional, to sustain the tortuous encounters of the film's later stages. Director Michael Haneke powerfully evokes the claustrophobic décor of the flat that Kohut shares with her dictatorial yet ineffectual mother, with whom her relationship progresses from the pitiful to the farcical. And farce of the blackest kind is what the film descends to, as Kohut and Klemmer play out a vicious game of sado-masochistic control with an intriguing but indecisive conclusion. Isabelle Huppert is magnificently assured as Kohut, but Benoît Magimel often seems confused as Klemmer, while Annie Girardot resorts to a caricature of the mother. Fans of classical piano will enjoy the masterclass and rehearsal sequences during the first hour, though music is then relegated to a minor role--its deeper relevance to the film being ultimately difficult to define. English subtitles are provided, and the monochrome shades in which the scenes abound come through with suitably wan intensity. Yet it's hard not to feel that a more profound inquiry into the darker side of sexual desire has been lost along the way. --Richard Whitehouse
There's nothing like a wedding to break up a marriage. Ted Danson and Isabella Rossellini play cousins-by-marriage who pretend to be lovers in order to punish their philandering spouses. Instead the make believe lovers walk directly in Cupid's line of fire-with consequences that are both hilarious and heartwarming.
Masculine/Feminine was Jean-Luc Godard's first (but not the last) foray into the burgeoning Children of the Sixties generationor, as Godard described it, the children of Marx and Coca-Cola . Impressionable teenager Jean-Pierre Leaud tries to make sense of the world by working as an interviewer for a research firm. Meanwhile, Leaud cohabits with aspiring singer Chantal Goya, with two additional young ladies joining the nocturnal festivities. Leaud jumps or is pushed from a window, leaving a pregnant Goya to move on to the next aimless youth she meets. While the nominal hero has failed to find fulfillment in personal relations, another male protagonist (Micheal Deborb), a political activist, is luckier an indication that the director favored revolutionary politics over simple emotionalism at this point in his career. Though Godard's free-form style is usually opposed to linear storytelling, Masculine Feminine has solid literary roots, having been inspired by two Guy de Maupassant.
You wouldn't think that a movie, which mostly consists of two old guys talking could be a thriller, but that's exactly what L'Homme du Train is. French singer Johnny Hallyday plays a professional criminal who comes to a small town to take part in a robbery. By chance, he meets talkative Jean Rochefort, who invites the laconic Hallyday to stay at his house because the hotel is closed. The two form an unlikely friendship, each curious about (and envious of) the other's life. But all the while plans for the robbery continue, while Rochefort is preparing for a dangerous event of his own. The pitch-perfect performances make L'Homme du Train completely involving. Rochefort and Hallyday play off of each other beautifully; it's impossible to put your finger on what makes these subtle, supple scenes so magnetic. The whole is directed with spare authority by Patrice Leconte (La Veuve de Saint-Pierre). --Bret Fetzer
This collection of films directed by the phenomenally talented Claire Denis serve as a showcase of her decade-spanning, award-winning career, beginning with her international breakthrough Chocolat and carrying through to her most recent work White Material. Brave, challenging and frequently controversial, Claire Denis is one of the most important French filmmakers of her generation and is the most critically acclaimed female director working in the world today. Also includes Beau Travail and Nnette et Boni.
Scanners (Dir. David Cronenberg 1981): Cameron Vale is living on the fringe of society self-induced due to his telepathic ability to read other people's minds. Darryl Revok has the same condition and is the head of an underground association of so-called Scanners that want world domination. When Vale is taken to Dr Paul Ruth as a result of supposed insanity he's enlisted into a program that will involve him in a battle against his fellow Scanners. Scanners 2 - The New Order (Dir. Christian Duguay 1991): In order to take over the city corrupt police commander Forrester intends to use a telepathic breed of human Scanners. To control the Scanners Forrester enlists the help of evil scientist Dr Morse who wants to conduct mind control experiments on the Scanners with a new drug. Unfortunately the side effects render the Scanners incapable so Forrester finds David Kellum a good rational Scanner who unaware of his own powers agrees to work with him. Scanners 3 - The Takeover (Dir. Christian Duguay 1992): A young lovable Scanner with extraordinary telepathic powers transforms into a murderous megalomaniac after taking one of her father's experimental drugs. After taking over his pharmaceutical drugs company the deranged Scanner runs amok on a killing spree and takes over a television company in her quest for world domination. Will her Scanner brother fresh from a spell in a Thai Monastery have the power to stop her?
In this French comedy a man is murdered. The suspects: eight different woman from his life.
International screen star Isabelle Adjani (The Story Of Adele H. Ishtar) is the creative prodigy Camille Claudel. Gerard Depardieu (Green Card Cyrano de Bergerac) is the legendary sculptor Rodin. This is the true story of their passionate obsession with art - and with each other. Both an inspiring saga of artistic vision and the haunting portrayal of a doomed romance Camille Claudel is a beautiful and stirring cinematic masterpiece.
The time is the present. The Driver (Ryan O'Neal) is the best 'Wheel Man' for hire. His work in driving getaway cars are exhibitions in excellence works of art. The Detective (Bruce Dern) is the top cop of the force. Nobody he tracks down ever eludes him. Except the Driver. As the Driver pulls off another job the Detective lays in wait for him. But the Driver has already lanted his alibi and is one step ahead of him. Through his operative the Connection (Ronee Blakley) he hires the mysterious young woman the Player (Isabelle Adjani) to lead the Detective astray... Special Features: Alternative Opening Sequence
Roger Vadim's directorial debut And God Created Woman is more titillation than continental cool, but it broke box-office records and censorship taboos in its teasing display of sex and eroticism in the sunny vacation playground of the Saint-Tropez seashore. Vadim ushered in the era of continental attitudes toward sex and christened the voluptuous Brigitte Bardot (his wife) the world's original sex kitten: earthy, innocent, and all fleshy curves. Bardot is Juliette, a pouty child-woman orphan prone to nude sunbathing and playful flirting. Though pursued by a rich widower (Curt Jurgens) and attracted to the brawny fisherman Antoine (Christian Marquand), she marries Antoine's shy younger brother Michel (Jean-Louis Trintignant), an earnest, innocent kid hardly older than she but far less worldly. Despite her sincere efforts to "be good," Juliette gives in to Michel's advances, setting off a chain of events that ends in fraternal conflict. Vadim keeps the display of skin this side of an R rating, but only barely, teasing the male audience with skimpy outfits, barely concealing sheets, and often conveniently arranged scenery. Bohemian Bardot frolics through the film with nary a self-conscious moment, culminating in a passionate mambo, her pent-up frustration and sexual confusion exploding in a mad dance as bongos pound away on the soundtrack. Who needed Viagra in the '50s when Bardot was around? --Sean Axmaker
Too often overlooked and undervalued, Claude Chabrol was the first of the Cahiers du Cinema critics to release a feature film and would be among the most prolific. The sneaky anarchist of the French New Wave, he embraced genre as a means of lifting the lid on human nature. Nothing is sacred and nothing is certain in the films of Claude Chabrol: anything can be corrupted, and usually will be. The hidden meaness of provincial life is at the heart of Cop Au Vin (Poulet au vinaigre), as deaths and disappearances intersect around the attempt by a corrupt syndicate of property developers to force a disabled woman and her son from their home. Actor Jean Poiret would prove so compelling as the laconic Detective Inspector Lavardin good cop/bad cop all in one that the sequel would be titled after him. Inspector Lavardin sees the titular detective investigating the murder of a wealthy and respected catholic author, renowned for his outspoken views against indecency, whose body is found naked and dead on the beach. In Madame Bovary, Chabrol directs one of his greatest collaborators, actress Isabelle Huppert, in perhaps the definitive depiction of Flaubert's classic heroine. Meanwhile Betty, adapted from the novel of the same name by Maigret author Georges Simenon, is a scathing attack on the uppermiddle classes, featuring an extraordinary performance by Marie Trintignant as a woman spiraling into alcoholism, but fighting to redefine herself. Finally, in Torment (L'enfer) Chabrol picks up a project abandoned by Henri Georges Clouzot, in which a husband's jealousy and suspicion of his wife drive him to appalling extremes. Francois Cluzet and Emmanuelle Beart give career best performances as the husband and wife tearing each other apart. With brand new digital restorations, this inaugural Arrow Video collection of Claude Chabrol on Bluray brings together a wealth of passionate contributors and archival extras to shed fresh light on the films and the filmmaker. Dark, witty, ruthless, mischievous: if you've never seen Chabrol before, you're in for a treat. If you have, they've never looked better. Limited Edition Contents: High definition (1080p) Bluray presentations of all five films New 4K restorations of Madame Bovary, Betty, and Torment (L'enfer) Original lossless French PCM mono audio on Cop Au Vin (Poulet au vinaigre), Inspector Lavardin, Madame Bovary, and Betty Original lossless French PCM stereo audio on Torment (L'enfer) Optional English Subtitles Fully illustrated 80page collector's booklet of new writing on the films by film critics Martyn Conterio, Kat Ellinger, Philip Kemp, and Sam Wigley plus select archival material Limited edition packaging featuring newly commissioned artwork by Tony Stella Disc One: Brand new commentary by film critic Ben Sachs An Interview with Ian Christie, a brand new interview with film historian Ian Christie about the cinema of Claude Chabrol Claude Chabrol at the BFI, Chabrol discusses his career in this hour long archival interview conducted onstage at the National Film Theatre in 1994 Claude Chabrol, Jean Poiret & Stephane Audran in conversation, an archival Swiss TV episode in which the director and cast discuss Cop Au Vin (Poulet au vinaigre) Archive introduction by film scholar Joël Magny Select scene commentaries by Claude Chabrol Theatrical Trailer Image Gallery Disc Two: Brand new commentary by film critic Ben Sachs Why Chabrol?, a brand new interview with film critic Sam Wigley about why the films of Claude Chabrol remain essential viewing Archive introduction by film scholar Joël Magny Select scene commentaries by Claude Chabrol Theatrical Trailer Image Gallery Disc Three: Brand new commentary by film critic Kat Ellinger Imagining Emma: Madame Bovary on screen, a brand new visual essay by film historian Pamela Hutchinson Archive introduction by film scholar Joël Magny Select scene commentaries by Claude Chabrol Theatrical Trailer Image Gallery Disc Four: Brand new commentary by film critic Kat Ellinger Betty, from Simenon to Chabrol, a brand new visual essay by French Cinema historian Ginette Vincendeau An Interview with Ros Schwartz, a brand new interview with the English translator of the Georges Simenon novel on which the film is based Archive introduction by film scholar Joël Magny Select scene commentaries by Claude Chabrol Theatrical Trailer Image Gallery Disc Five: Brand new commentary by film critics Alexandra HellerNicholas and Josh Nelson On Henri Georges Clouzot, an archival interview with Claude Chabrol in which he talks about fellow director Henri Georges Clouzot (Les diaboliques), whose original attempt to make L'enfer was abandoned, and how the project came to Chabrol An Interview with Marin Karmitz, an archival interview with Marin Karmitz, Chabrol's most frequent producer Archive introduction by film scholar Joël Magny Select scene commentaries by Claude Chabrol Theatrical Trailer Image Gallery
Her secret is killer and she will do anything to keep it that way. It's time to meet Esther, one of cinema's most recognisable faces. She may seem sweet and welcoming but her history says otherwise. In this two film collection meet the families that took Esther in and her most vulnerable and discover if they survive the blood.
1978 American neo-noir, directed by Walter Hill (Warriors) and starring Ryan O'Neal, Bruce Dern and Isabelle Adjani. The Driver (Ryan O'Neal) is the best wheel man for hire. His work in driving getaway cars are exhibitions in excellence, works of art.The Detective (Bruce Dern) is the top cop of the force. Nobody he tracks down ever eludes him. Except the Driver. As the Driver pulls off another job, the Detective lays in wait for him. But the Driver has already planted his alibi and is one step ahead of him.Product FeaturesMasterclass: Walter Hill Interview with Walter Hill Alternate opening sequence Trailer Teasers
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