A bumbling professor accidently invents flying rubber or ""Flubber"" an incredible material that gains energy every time it strikes a hard surface. It allows for the invention of shoes that can allow jumps of amazing heights and enables a modified Model-T to fly. Unfortunately no one is interested in the material except for Alonzo Hawk a corrupt businessman who wants to steal the material for himself.
The Carry On Collection DVD box set contains the following 17 films in Special Edition versions, complete with a selection of commentaries, documentaries or other features on each disc, plus That's Carry On, a celebration of 20 years of the series hosted by Kenneth Williams and Barbara Windsor. The individual films are: Don't Lose Your Head; Follow That Camel; Doctor; Up the Khyber; Camping; Again Doctor; Up the Jungle; Loving; Henry; At Your Convenience; Matron; Abroad; Girls; Dick; Behind; England; Emmanuelle and That's Carry On.
Directed by Charles Crichton, who would much later direct John Cleese in A Fish Called Wanda (1988), 1951's The Lavender Hill Mob is the most ruefully thrilling of the Ealing Comedies. Alec Guinness plays a bowler-hatted escort of bullion to the refineries. His seeming timidity, weak 'r's and punctiliousness mask a typically Guinness-like patient cunning. "I was aware I was widiculed but that was pwecisely the effect I was stwiving to achieve". He's actually plotting a heist. With more conventionally cockney villains Sid James and Alfie Bass in tow, as well as the respectable but ruined Stanley Holloway, Guinness' perfect criminal plan works in exquisite detail, then unravels just as exquisitely, culminating in a nail-biting police car chase in which you can't help rooting for the villains. The Lavender Hill Mob depicts a London still up to its knees in rubble from World War II, a world of new hope but continued austerity, a budding new order in which everything seems up for grabs; as such it could be regarded as a lighter hearted cinematic cousin to Carol Reed's 1949 masterpiece The Third Man. The Lavender Hill Mob also sees the first, fleeting on-screen appearance of Audrey Hepburn in the opening sequence. --David Stubbs
When the usually ranting and raving Sir Lancelot Spratt becomes gentle and considerate the hospital inhabitants become positively alarmed until Dr Simon Sparrow diagnoses the trouble: love!
Once More With Feeling", a much needed shaft of lightness in Buffy the Vampire Slayer's dark sixth series, demonstrates that a "special" episode can be genuinely special. It preserves the show's continuity for its regular watchers and also delights people who have never experienced it before. This is creator Joss Whedon's tribute to all the masters of the stage musical whom he admires--most obviously Stephen Sondheim--and a chance for his talented cast to display their usual tight ensemble and sing and dance while doing it. The premise is typical Buffy both in its whimsy and its emotional truth--a demon forces the inhabitants of Sunnydale to express their emotions truthfully and uncovers a variety of embarrassing secrets. The actual musical ability of the Buffy cast is variable--Amber Benson as Tara and Anthony Stewart Head as Giles are perhaps the only ones with enough musical talent to carry purely lyrical tunes, but Sarah Michelle Gellar as Buffy is a game little trooper who delivers her various patter songs with her usual efficiency and charm. Emma Caulfield as the ex-demon Anya is the big surprise, her short paranoid riff on the subject of that ultimate evil, bunny rabbits is quite extraordinary; Broadway hoofer Hinton Battle is fabulous as Sweet: "I can bring whole cities to ruin and find time to get some soft shoe in." --Roz Kaveney
Six classic films from six iconic directors including Anatomy Of A Murder, Oliver!, Taxi Driver, Stripes, Sense And Sensibility (1995), and The Social Network. Experience these essential films from Columbia Pictures like never before, now fully remastered and debuting on 4K Ultra HD. With films driven by bold and impassioned characters and with stories deftly told by master filmmakers and with hours of special features and an exclusive 80-page book with unique insights and production detail about each of the included films this second volume of the Columbia Classics 4K Ultra HD Collection is truly the best way to watch these treasured cinematic favourites! Includes filmmaker & historian commentaries, anniversary reunions, documentaries, deleted scenes, archival featurettes and much more! Also includes an exclusive Blu-ray⢠bonus disc featuring a curated collection of 20 short films from the Columbia Pictures library.
All 93 episodes from the first three seasons of Alfred Hitchcock's thriller anthology series. The British film-maker returns with a spin-off to his TV show 'Alfred Hitchcock Presents' with more murderous and suspenseful tales of mystery. Season 1 episodes are: 'A Piece of the Action', 'Don't Look Behind You', 'Night of the Owl', 'I Saw the Whole Thing', 'Captive Audience', 'Final Vow', 'Annabel', 'House Guest', 'The Black Curtain', 'Day of Reckoning', 'Ride the Nightmare', 'Hangover', 'Bonfire', 'The Tender Poisoner', 'The 31st of February', 'What Really Happened', 'Forecast: Low Clouds and Coastal Fog', 'A Tangled Web', 'To Catch a Butterfly', 'The Paragon', 'I'll Be Judge - I'll Be the Jury', 'Diagnosis Danger', 'The Lonely Hours', 'The Star Juror', 'The Long Silence', 'An Out for Oscar', 'Death and the Joyful Woman', 'Last Seen Wearing Blue Jeans', 'The Dark Pool', 'Dear Uncle George', 'Run for Doom' and 'Death of a Cop'. Season 2 episodes are: 'A Home Away from Home', 'A Nice Touch', 'Terror at Northfield', 'You'll Be the Death of Me', 'Blood Bargain', 'Nothing Ever Happens in Linvale', 'Starring the Defense', 'The Cadaver', 'The Dividing Wall', 'Goodbye, George', 'How to Get Rid of Your Wife', 'Three Wives Too Many', 'The Magic Shop', 'Beyond the Sea of Death', 'Night Caller', 'The Evil of Adelaide Winters', 'The Jar', 'Final Escape', 'Murder Case', 'Anyone for Murder?', 'Beast in View', 'Behind the Locked Door', 'A Matter of Murder', 'The Gentleman Caller', 'The Ordeal of Mrs. Snow' ,'Ten Minutes from Now', 'The Sign of Satan', 'Who Needs an Enemy?', 'Bed of Roses', 'Second Verdict', 'Isabel' and 'Body in the Barn'. Season 3 episodes are: 'The Return of Verge Likens', 'Change of Address', 'Water's Edge', 'The Life Work of Juan Diaz', 'See the Monkey Dance', 'Lonely Place', 'The McGregor Affair', 'Misadventure', 'Triumph', 'Memo from Purgatory', 'Consider Her Ways', 'The Crimson Witness', 'Where the Woodbine Twineth', 'The Final Performance', 'Thanatos Palace Hotel', 'One of the Family', 'An Unlocked Window', 'The Trap', 'Wally the Beard', 'Death Scene', 'The Photographer and the Undertaker', 'Thou Still Unravished Bride', 'Completely Foolproof', 'Power of Attorney', 'The World's Oldest Motive', 'The Monkey's Paw - A Retelling', 'The Second Wife', 'Night Fever' and 'Off Season'.
Something very strange is happening in the quiet coastal village of Potters Bluff where tourists and transients are warmly welcomed then brutally murdered! Even more shocking is when these slain strangers suddenly reappear as normal friendly citizens around town... Now the local sheriff and an eccentric mortician must uncover the horrific secret of a community where some terrifying traditions are alive and well: no one is ever truly dead and buried!
The classic tale of Tom Jones a boy who is adopted in childhood by the kindly Squire Allworthy adapted from the novel written by Henry Fielding. As a result he becomes a privileged gentleman but one with a roving eye. Soon an amorous indiscretion results in him being exiled from his home...
Rapunzel: Failing Eastern European tennis star Jimmy Stojkovic is forced by his father to play as a woman to pay off the family's debts to a criminal gang. At the British Open Championship ""Martina"" becomes bosom buddies with the reigning champion the beautiful Rapunzel whose mother keeps her locked away from the attentions of men. Cinderella: Professor H Michael Prince an arrogant anthropologist has discovered an ancient phallic symbol which he believes proves that men are the driving force behind human evolution. University cleaner Cindy Mellor is determined to overturn Prince's theory and capture an important academic post. The Empress's New Clothes: Michaela is a soap star hell bent on stealing the fashion limelight and making red carpet roadkill out of her co-star and main rival. Her naive young friend Shannon thinks she has found the team to deliver just the right outfit. Billy Goat: Boy band 'Billy Goat' are the hottest thing in a small town. Only one thing stands between them fame and fortune: their manager. Grettongrat is a troll with macabre methods and he has the band locked in a watertight contract. To make the big time they must escape his clutches.
What kind of guy was the wizard Merlin, anyway? He lives a long time, raises a boy to be a king, props up a Utopian empire with his magic and wisdom, and then watches as it all crumbles under such banal forces as vengeance and betrayal. This four-hour mini-series re-tells the story of Camelot and King Arthur from the perspective of the magic man who sacrifices a great deal to guide mortals toward a better destiny. Sam Neill plays Merlin as an accessible, flesh-and-blood fellow of real passion, powerless to undo the spell of a rival (Rutger Hauer) who has virtually imprisoned Merlin's great love, Nimue (Isabella Rossellini), but gifted enough to counter the treachery of Morgan Le Fey (Helena Bonham Carter) and the wicked Queen Mab (Miranda Richardson). The battle sequences and special effects are striking and original, and it is great fun to see such art-house movie actors as Richardson, Carter, Neill, etc., in fantasy entertainment the whole family can enjoy. (An unrecognizable Martin Short must be singled out, however, for a wonderful, largely dramatic performance as Mab's sidekick, Frik.) Directed by Steve Barron (The Adventures of Pinocchio), Merlin is a nice bit of glossy revisionism of a beloved legend. --Tom Keogh
The first live action movie ever produced by Walt Disney. Fred MacMurray heads an all-star cast that includes Jean Hagen Tim Considine Kevin Corcoran and Annette Funicello in her big screen debut. After years of on-the-job clashes with cranky canines mail carrier Wilson Daniels (MacMurray) sees man's best friend as his worst enemy. This makes for one hairy situation when a magical ring accidentally transforms his teenage son Wilby (Kirk) into a lumbering sheepdog! Can Wilby break
Carry On Girls was the last really successful film in the epic series of British film comedies. It's studded with gems of cameo performances and boasts a tremendously innuendo-laden Talbot Rothwell script which is easily the equal of any of its predecessors. The setting, a beauty contest to raise the profile of the dismal resort Fircombe-on-Sea, is ripe for politically incorrect activity of the sort that could only be conducted by Sid James at the height of his lecherous powers. Enter Bernard Bresslaw in a corset, Wendy Richard as Ida Downs, Barbara Windsor as Miss Easy Rider and a host of other semi-clad lovelies and watch as the whole thing rises to a slapstick climax of frisky old colonels, bikinis, bosoms and itching powder. In the smaller roles, Joan Hickson (BBC television's Miss Marple) is hilarious as an elderly woman who believes she is a man-magnet, and the always under-used Patsy Rowlands excels as the downtrodden mayor's wife, a worm who finally turns. But in many ways this is June Whitfield's film: as the terrifying reactionary councillor Mrs Prodworthy, with a butch lesbian sidekick, she plots the downfall of her male colleagues with classic lines. "Rosemary, get the candle", she orders as Patsy Rowlands requests initiation. --Piers Ford
The Cotton Club is routinely eclipsed by the controversies that surrounded its tumultuous production, but the film itself offers abundant pleasures that should not be overlooked. If Apocalypse Now represents the triumph of director Francis Coppola's perilous ambition, then The Cotton Club represents the ungainly glory of uncontrolled genius, as brilliant as it is out of its depth. As an upscale homage to classic gangster films it's frequently astonishing, cramming a thick novel's worth of plot and characters into 129 minutes, gloriously serviced by impeccable production design, elegant cinematography, and stylistic flourishes that show Coppola at the top of his game. What The Cotton Club lacks is cohesion. Written by Coppola and novelist William Kennedy (then enjoying the peak of his critical acclaim), the film struggles to exceed the narrative scope of The Godfather, but its multiple early-'30s plotlines fail to form any strong connective tissue. It's three (or four) movies in one, with cornet player Dixie Dwyer (Richard Gere, playing his own jazzy solos) drifting from one story to the next--loving a young, ambitious vamp (Diane Lane, with whom Gere shares precious little chemistry), enjoying the success of a hot-shot hoofer (Gregory Hines), and protecting his brazen brother (Coppola's then-newcomer nephew, Nicolas Cage) from the deadly temper of mob boss "Dutch" Schultz (James Remar). Bob Hoskins and Fred Gwynne also score big in grand supporting roles, but The Cotton Club is perhaps best appreciated for its meticulous recreation of Harlem's Cotton Club heyday, and the brilliant music (Ellington, Calloway, etc.) that brought rhythm to gangland's rat-a-tat-tat. --Jeff Shannon, Amazon.com
Vampire-slayer Buffy Summers moves to Sunnydale, a Californian community located above the "Hellmouth", a phenomenon which explains the local graveyard's overpopulation of vampires and other supernatural beings. Angel, a mysterious loiterer, starts flirting with Buffy and gives her helpful tips on how to cope with the local nasties. However, he turns out to be a vampire, which complicates the future of their relationship. Buffy makes friends with school outcasts Willow, a computer nerd, and geeky Xander. But she excites the enmity of high-school princess Cordelia. The season's prime villain is the Master, a Nosferatu-looking vampire lurking under the town. Giles, Buffy's mentor, looks things up in books and demonstrates the exact same look of puzzlement actor Anthony Head used to demonstrate in those horrifying instant coffee ads. --Kim Newman
Few 1950s creature features deliver in the way Fiend Without a Face does. The first hour is all build-up as tension grows between an Air Force research base and a small Canadian town (this is one of those British B films that pretends to be set overseas) as a series of mystery deaths are blamed by the superstitious on weird military experiments. It's not a spoiler to give away the big revelation, since every item of publicity material, including the DVD cover, blows the surprise: the initially invisible culprits turn out to be a killer swarm of disembodied brains with eyes on stalks and inchworm-like spinal cord tails. These creatures have a nasty habit of latching onto victims and sucking out their grey matter. The finale is a siege of a house by the fiends, which swarm en masse making unsettling brain-sucking sounds, and are bloodily done away with by the heroes. Using excellent stop-motion animation, this climax goes beyond silliness and manages to be genuinely nightmarish. The orgy of splattering brains stands proud among the cinema's first attempts at genuine horror-comic glee, setting a precedent for everything from The Evil Dead to Peter Jackson's Braindead. Marshall Thompson is a bland, stolid uniformed hero and most of the rest of the cast struggle with "anadian" accents, but Kynaston Reeves is fun as the decrepit lone researcher whose fault it all is. On the DVD: Fiend Without a Face on disc comes with a montage of scenes from other films in this batch of releases (The Day of the Triffids, The Stars Look Down) that plays automatically when the disc is inserted, but otherwise not even a trailer, much less the commentary track and other material found on the pricey but luxurious US Region 1 Criterion release. The print has nice contrasts but is pretty grainy. --Kim Newman
Cowboy is both a sturdy Delmer Daves picture--his third with Glenn Ford, following Jubal and 3:10 to Yuma--and also one of the most offbeat Westerns ever. It must be the most true to form too, with Frank Harris's memoirs as the source and a picaresque screenplay by Edmund H. North and Dalton Trumbo (a blacklistee, credited only posthumously). There's a pileup of oddities and complications at the outset, with Chicago hotel clerk Harris (Jack Lemmon) already in mid-romance with a daughter of the Mexican aristocracy (Anna Kashfi--Mrs Marlon Brando at the time), and Texas cattleman Tom Reese (Ford) storming in to commandeer an entire floor of the hotel for him and his drovers so they can party 'till, well, the cows come home. Partying is curtailed when Reese loses big at cards; Harris bails him out with his savings, and Reese finds he's taken on not only an unwanted partner but a tenderfoot besides. Soon everyone is headed south. Cowboy merits its bedrock title. This is a rare Western in which the job of breaking horses, trail herding, and so on, figures as a dynamic aspect of the storytelling. The film also has a blunt and original way of looking at death, not as a genre convention but as something abrupt, ungainly, and often absurd, in both senses of the word. (This applies equally to men and cattle, by the way.) The camerawork is trim, angular, and somehow precarious, and the jagged editing hustles the very eventful proceedings to a close in barely an hour and a half. Saddle up. --Richard T. Jameson, Amazon.com
Marlon Brando's famous "I coulda been a contenda" speech in On the Water Front is such a war horse by now that a lot of people probably feel they've seen the film already, even if they haven't. And many of those who have seen it may have forgotten how flat-out thrilling it is. For all its great dramatic and cinematic qualities, and its fiery social criticism, Elia Kazan's has created one of the most gripping melodramas of political corruption and individual heroism ever made in the United States, a five-star gut-grabber. Shot on location around the docks of Hoboken, New Jersey, in the mid-1950s, it tells the fact-based story of a longshoreman (Brando's Terry Malloy) who is blackballed and savagely beaten for informing against the mobsters who have taken over his union and sold it out to the bosses. (Karl Malden has a more conventional stalwart-hero role, as an idealistic priest who nurtures Terry's pangs of conscience.) Lee J Cobb, who created the role of Willy Loman in Death of Salesman under Kazan's direction on Broadway, makes a formidable foe as a greedy union leader. --David Chute, Amazon.com
""You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody instead of a bum which is what I am let's face it."" - Terry Malloy (Marlon Brando) Marlon Brando is the longshoreman who finds himself increasingly isolated when he challenges the might and power of the tough New York City dockers' Union. Rod Steiger is his elder brother torn between loyalty to union and love of family. Lee J. Cobb is the powerful union boss while Eva Marie Saint
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