A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive
In the typical Don Simpson-Jerry Bruckheimer mould(the partnership yielded Top Gun and Days of Thunder, among many other films), this 1995 drama is a combination of one-dimensional but enjoyable performances, lots of high-tech nonsense taking place onscreen, and mechanistic movie-making at its loudest and most seizure-inducing. Gene Hackman and Denzel Washington play nuclear submarine officers squaring off over the former's apparent intention to do some unauthorized damage to an enemy. Tony Scott (Top Gun) directed, bringing his lustre and pop commercial sense to go with all that Simpson-Bruckheimer eye candy. --Tom Keogh
James Mason plays Field Marshal Erwin Rommel in both The Desert Fox (1951) and The Desert Rats (1953), a WWII double-bill on DVD. The Desert Fox, released six years after the end of the War, is a solemnly respectful tribute to Erwin Rommel, Germany's most celebrated military genius. James Mason's portrayal of this gallant warrior became a highlight of his career iconography. The film itself is oddly disjointed, though: a pre-credit commando raid to liquidate Rommel is followed by a flashback to the field-marshal's lightning successes commanding the Afrika Korps--a compressed account via documentary footage and copious narration (spoken by Michael Rennie, who also dubs Desmond Young, the Rommel biographer and one-time British POW appearing briefly as himself). The dramatic core is Rommel's growing disenchantment with Hitler (Luther Adler), his involvement in the plot to assassinate the Fuhrer, and his subsequent martyrdom. The Desert Rats stars Richard Burton in only his second Hollywood role (between Oscar-nominated turns in My Cousin Rachel and The Robe), as a Scottish commando put in charge of a battalion of the 9th Australian Division defending Tobruk. The Aussies don't like him, and with a year of grim North African duty already under his belt, he's not too crazy about his new responsibilities either. The outfit is charged with staving off the battering assaults of Field Marshal Erwin Rommel for two months, to give the British Army time to regroup in Cairo and prepare for a counterattack. In the end, the "desert rats" play hell with the Desert Fox for 242 days, during which time they and their commander develop some mutual respect. This is a solid, workmanlike World War II picture that, having been made in 1953 rather than 1943, can acknowledge a degree of eccentric humanity and soldierly professionalism in the enemy. Featured guest star James Mason reprises his Rommel from The Desert Fox, playing all his scenes in German except for a scene of ironical repartee with Burton. Another distinguished Brit, Robert Newton, gets costar billing as a boozy, self-confessed coward who used to be Burton's schoolmaster. However, a goodly number of Australians--including Chips Rafferty and Charles "Bud" Tingwell rate at least as much screen time. Robert Wise directed, with a trimness that reminds us he started out as an editor, and the pungent black-and-white cinematography is by Lucien Ballard. --Richard T. Jameson
A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive
James Mason delivers a strong performance in the title role of this sympathetic study of Field Marshal Erwin Rommel. In the early 40's Rommel's juggernaut Afrika Korps dominated North Africa. But as the tide turned and he came to the painful realisation that his Fuhrer to whom he had sworn allegiance was destroying Germany his ingrained sense of duty pushed him into a conspiracy against Hitler. Focusing on the latter part of Rommel's career the flm portrays him as a dedicated so
It's not quite as clever as it tries to be, but The Game does a tremendous job of presenting the story of a rigid control freak trapped in circumstances that are increasingly beyond his control. Michael Douglas plays a rich, divorced, and dreadful investment banker whose 48th birthday reminds him of his father's suicide at the same age. He's locked in the cage of his own misery until his rebellious younger brother (Sean Penn) presents him with a birthday invitation to play "The Game" (described as "an experiential Book of the Month Club")--a mysterious offering from a company called Consumer Recreation Services. Before he knows the game has even begun, Douglas is caught up in a series of unexplained events designed to strip him of his tenuous security and cast him into a maelstrom of chaos. How do you play a game that hasn't any rules? That's what Douglas has to figure out, and he can't always rely on his intelligence to form logic out of what's happening to him. Seemingly cast as the fall guy in a conspiracy thriller, he encounters a waitress (Deborah Unger) who may or may not be trustworthy, and nothing can be taken at face value in a world turned upside down. Douglas is great at conveying the sheer panic of his character's dilemma, and despite some lapses in credibility and an anticlimactic ending, The Game remains a thinking person's thriller that grabs and holds your attention. Thematic resonance abounds between this and Seven and Fight Club, two of the other films by The Game 's director David Fincher. -- Jeff Shannon, Amazon.com
Giant (1956): George Stevens' sweeping Oscar-winning epic about the cataclysmic effect the discovery of oil in Texas has on the lifestyle of the former cattle barons. Dean is Jett Rink a sullen-farm hand who becomes a millionaire overnight. Tough always angry restless bewildered and reckless Rink's animal charm and tycoon's magnetism means he always gets his way. But when he fails in love with Leslie he loses his way with an equal violence... East Of Eden (1955): J
Nicholas Van Orton (Michael Douglas) is a shrewdly successful businessman who is accustomed to being in control of each facet of his investments and relationships. His well-ordered life undergoes a profound change however when his brother Conrad (Sean Penn) gives him an unexpected birthday gift that soon has devastating consequences. There are no rules in The Game...
Telly Savalas assumes the role of the leader of the Dirty Dozen from Lee Marvin as he and the twelve are charged to destroy a nerve gas manufacturing plant before the Germans can make enough to use against the Allied invasion...
Collection of three classic James Dean films. In 'East of Eden' (1955) two brothers compete for the love of their stern, overbearing, widowed father. However, when Cal (Dean), the rejected 'rebel' son, discovers that his mother is not dead but running a nearby brothel he tells his brother Aron (Richard Davalos). This leads to the destruction of not only his relationship with Aron but also his father. 'Giant' (1956) is an epic saga which begins when Texas cattle baron Bick Benedict (Rock Hudson) takes a non-Texan wife, Leslie (Elizabeth Taylor). The story then traces two generations of his family, alongside the life of disreputable ranch-hand Jett Rink (Dean), who strikes it rich on an oil well and falls in love with Leslie. Director George Stevens won an Oscar for his work and the film garnered nine more nominations, including one for Dean, who was killed soon after filming. Finally, 'Rebel Without a Cause' (1955) takes place over a 24-hour period and follows Jim Stark (Dean), a restless teenager who is always in trouble with the law. When Jim is picked up for being drunk and disorderly he notices Judy (Natalie Wood) at the police station and determines to ask her on a date at high school the next day, which leads him into conflict with her boyfriend Buzz (Corey Allen).
A host of familiar genre faces including Hal Holbrook (Creepshow), Rutanya Alda (Amityville II: The Possession), Julia Montgomery (The Kindred) and Lauren-Marie Taylor (Friday the 13th Part 2) rounds out the cast of this gloriously mean-spirited slice from the slasher golden age, Girls Nite Out! The students of DeWitt University are preparing themselves for a night of fun and frolics in the form of an all-night scavenger hunt. Little do they know that they are in fact the ones being hunted An unhinged assailant, disguised in the college's goofy bear mascot outfit and bearing knives for claws, two years before Freddy donned his famous gloves is stalking the campus hellbent on carving up co-eds. Originally released under the only marginally more appropriate title of The Scaremaker, Girls Nite Out is a decidedly singular slasher flick which comes on like a frenetic cross between Animal House and Friday the 13th veering from jovial frat antics to jarringly disturbing scenes of the killer shrieking obscenities as he slices up his victims. On this nite out, no one is coming home! Product Features Brand new 2K restoration from 35mm vault elements High Definition Blu-ray (1080p) presentation Original uncompressed mono audio Optional English subtitles for the deaf and hard of hearing Brand new audio commentary with genre film critic/author Justin Kerswell and film historian/author Amanda Reyes Staying Alive a brand new video interview with actress Julia Montgomery A Savage Mauling a brand new video interview with actress Laura Summer Alone in the Dark a brand new video interview with actress Lois Robbins It Was a Party! a brand new video interview with actor Paul Christie Love & Death a brand new video interview with actors Lauren-Marie Taylor and John Didrichsen Archival video interview with actress Julia Montgomery The Scaremaker Alternate Title Card Original Trailers Reversible sleeve featuring original artwork and newly-commissioned artwork by Justin Osbourn FIRST PRESSING ONLY: Illustrated collector's booklet featuring new writing on the film by Michael Gingold
The American domestic epic endured long into the post-war era, with Giant (1956) one of its last real manifestations. Director George Stevens gets real panoramic sweep in his adaptation of Edna Ferber's novel of social and economic change in rural Texas from the 1920s to the 1950s. Rock Hudson is imposing if uninvolving as rancher Vernon Reata II, constantly torn between his image and his humanity. As his wife Lesley, Elizabeth Taylor gives one of her most rounded performances as the Maryland girl whose liberal outlook causes friction within the social (and racial) mindset of the insular community as it lurches from rigid conservatism to mindless materialism over three decades. The film is best remembered for James Dean in what was his third and last screen appearance. He cuts a distinctive figure as Jet Rink, social outcast turned oil tycoon. The bravura of his inebriated speech before an empty banqueting hall would be no less memorable had his career not been curtailed days after shooting ended. The secondary roles are decently taken: look out for a teenage Denis Hopper, sallow but likeable as the gauche Vernon Reata III. On the DVD: Giant is evenly divided over two discs. Widescreen picture quality is excellent and the remastered soundtrack gives Dimitri Tiomkin's score a new lease of life. A laudable 56 chapter points are provided, with dubbing in English, French and Italian and subtitles in eight languages. A running commentary, though informative, is really for aficionados only, but the 45 minutes (on the second disc) of George Stevens recollections from heavyweights such as Herman J. Mankiewicz, Alan J Pakula and Fred Zinnemann ideally complements this sprawling but often compulsive old-school American movie. --Richard Whitehouse
An examination of the trials and tribulations of the Jordache family from the period following World War II to the late 1960s and beyond.
He-Man Eternia's most powerful warrior defends the honour of the future paradise from the hideous Skeletor and his wicked ally Evil-Lyn. Skeletor has imprisoned the Sorceress of Greyskull Castle in a power-absorbing energy field. The only way to free her and stop Skeletor ruling the Kingdom lies in using the Cosmic Key. However the key has been lost on Earth through a dimensional time-warp and discovered by two Californian teenagers. He-Man must find it before Skeletor's top inter-galactic mercenaries or else nothing will save Eternia from a dark millennium...
Few actresses have dominated the camera as powerfully as Dorothy Dandridge in Carmen Jones. Her polished beauty plays in irresistible contrast to her title character's leonine sexuality and fluid emotions; a man can't decide from moment to moment if he wants to save her from doom, build her a castle, or never let her out of bed. Of course, that's the problem with the boys in this semi-experimental adaptation of Bizet's opera, Carmen. Straight-arrow Joe (a strapping Harry Belafonte), an obedient corporal on a southern military base during World War II, is all set to go to flight school and marry his hometown sweetie, Cindy Lou (Olga James), when his troublemaking sergeant orders him to accompany Carmen to a civilian court. In short order, Joe is swept up in Carmen's carnal anarchy and her craving for release from lousy options in life. An impulsive act of violence ensures that Joe's future is gone forever, putting Carmen in the difficult position of destroying their relationship to save him. Oscar Hammerstein II took Bizet's music in 1943 and rewrote the book and lyrics. The result is largely a smashing success with a few missteps (the bullfighter in Bizet's piece becomes a heavyweight boxer here, which breaks up a certain grace in the story) and a couple of perfect stretches (the long prelude to Carmen and Joe's first embrace, set on Carmen's hoodoo-ish home turf). Despite the fact that both Dandridge and Belafonte were singers, their vocal performances were dubbed by LeVern Hutcherson and Marilyn Horne. (Yes, it is a little disconcerting to hear another voice coming out of the more familiar Belafonte's mouth.) Otto Preminger directed with his usual eye on economy of action and production, as the numerous musical numbers tend to be shot in lengthy, single, carefully choreographed takes. The result can be a little visually static at times, but the passion behind the singing pulls everything through.--Tom Keogh
Chuck 'Tiger' Warsaw returns to his home town after an absence of 15 years precipitated by an act of irresponsibility which destroyed his sister's wedding and left his father mentally unstable. His home-coming is shunned by his family but he tries desperately to overcome the problems and gain forgiveness.
Carry On Up the Jungle has worn less well than some of the others in the series, simply because the African exploration genre it parodies--with its cannibals, great white hunters and lost Amazon tribes--is so entirely out of fashion. Still, Frankie Howerd made so comparatively few films that one which has him as an ornithologist searching for rare birds in the company of Joan Sims and Sid James is not going to be entirely without interest; he has few great moments here, but runs through his usual repertoire of groans and horse-faced sorrowful expressions with brio. The idea of Terry Scott playing Tarzan is in itself such a good joke that it hardly matters that most of what follows is him swinging, on ropes, into obstacles. On the DVD: The DVD has no special features whatever. It is presented in 1.77:1 ratio with mono sound. --Roz Kaveney
Classic comedy films from the Marx brothers including 'A Night At The Opera' 'A Day At The Races' 'A Night In Casablanca' 'The Big Store' 'At The Circus' and 'Go West'. A Night At The Opera (1935) The Marx Brothers turn Mrs. Claypool's opera into chaos in their efforts to help two young hopefuls get a break. It contains the famous scene where Groucho Chico and Harpo cram a ship's stateroom with wall-to-wall people gags one-liners musical riffs and two hard-boiled egg
Carry On Up the Jungle has worn less well than some of the others in the series, simply because the African exploration genre it parodies--with its cannibals, great white hunters and lost Amazon tribes--is so entirely out of fashion. Still, Frankie Howerd made so comparatively few films that in one which has him as an ornithologist searching for rare birds in the company of Joan Sims and Sid James is not going to be entirely without interest. He has few great moments here, but runs through his usual repertoire of groans and horse-faced sorrowful expressions with brio. The idea of Terry Scott playing Tarzan is in itself such a good joke that it hardly matters that most of what follows is him swinging, on ropes, into obstacles. --Roz Kaveney
Woman Of The Year: A female politician and a sports journalist marry for the wrong reasons in this battle of the sexes comedy classic. Oscar winner for Best Original Screenplay. Giant - Special Edition: The James Dean legend lives on in 'Giant' George Stevens sweeping Oscar-winning epic about the cataclysmic effect the discovery of oil in Texas has on the lifestyle of the former cattle barons. Dean is Jett Rink a sullen-farm hand who becomes a millionaire overnight. To
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