Adapted from the controversial novel by J.G. Ballard, Crash will either repel or amaze you, with little or no room for a neutral reaction. The film is perfectly matched to the artistic and intellectual proclivities of director David Cronenberg, who has used the inspiration of Ballard's novel to create what critic Roger Ebert has described as "a dissection of the mechanics of pornography". Filmed with a metallic colour scheme and a dominant tone of emotional detachment, the story focuses on a close-knit group of people who have developed a sexual fetish around the collision of automobiles. They use cars as a tool of arousal, in which orgasm is directly connected to death-defying temptations of fate at high speeds. Ballard wrote his book to illustrate the connections between sex and technology--the ultimate postmodern melding of flesh and machine--and Cronenberg takes this theme to the final frontier of sexual expression. Holly Hunter, James Spader and Deborah Unger are utterly fearless in roles that few actors would dare to play, and their surrender to Cronenberg's vision makes Crash an utterly unique and challenging film experience. --Jeff Shannon, Amazon.com
Sam and Lucy Bell (Hugh Laurie Joely Richardson) are bright thirtysomething media darlings - he's a TV Commissioning Editor for the BBC she works in a theatrical agency - who seem to have the perfect life. More than anything Sam and Lucy want a baby and so they embark on a rigorous schedule of lovemaking dictated by ovulation charts rather than passion. Nothing appears to work. In desperation they deliver themselves into the hands of Dr. James (Rowan Atkinson) who suggests the possibility of IVF as the way forward. The endless medical tests soon take their toll on the couple's relationship. Sam vents his frustration by penning a screenplay based on his current predicament: a comedy about a couple trying for a baby. Meanwhile Lucy's hormones are all over the shop and she finds herself increasingly attracted to the star client at her agency suave and debonair actor Carl Phipps (James Purefoy).
Ashton Kutcher stars as a young man struggling with his past as he unravels a series of shocking truths about this childhood circle of friends.
There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission... Surrender yourself to the mysterious world of 'The Outer Limits' as one of the creepiest and most provocative series in television history comes to DVD. This fantastic box set comprises every episode from the first season and a glut of eery extras. Featuring 32 original episodes on 8 discs! Episodes comprise: 1. Galaxy Being 2. Hundred Days of
In the aftermath of the shocking events in Sinister, a protective mother (Shannyn Sossamon) and her 9-year-old twin sons find themselves in a rural house marked for death.
Highschooler Donnie is plagued by visions of a giant evil rabbit who orders him to commit acts of violence and predicts the impending end of the world.
The film, set in Govan during the binmen's strike of the late 1970s, portrays the story of a young boy, growing up amidst a squalid life.
Cinderella (2015) The story of “Cinderella” follows the fortunes of young Ella (Lily James) whose merchant father remarries following the death of her mother. Eager to support her loving father Ella welcomes her new Stepmother (Cate Blanchett) and her daughters Anastasia (Holliday Grainger) and Drisella (Sophie McShera) into the family home. But when Ella’s father unexpectedly passes away she finds herself at the mercy of a jealous and cruel new family. Soon she is forced to become their servant disrespected covered in ashes and spitefully renamed Cinderella. Yet despite the cruelty inflicted upon her Ella will not give in to despair nor despise those who mistreat her and she continues to remain positive determined to honor her mother’s dying words and to “have courage and be kind.” When Ella meets a dashing stranger in the woods unaware that he is really the Prince (Richard Madden) and not merely Kit an apprentice at the palace she believes she has finally found a kindred soul. It appears her fortunes may be about to change when the King (Derek Jacobi) summons all maidens in the kingdom to attend a royal ball at the palace raising Ella’s hopes of once again encountering the charming Kit. Alas her Stepmother forbids her to attend and callously destroys her dress. Meanwhile the calculating Grand Duke (Stellan Skarsgård) devises a plan to thwart the Prince’s hopes of reuniting with Ella and enlists the support of the devious Stepmother. But as in all good fairy tales help is at hand. Soon a kindly beggar woman (Helena Bonham Carter) steps forward and armed with a pumpkin a few mice and a magic wand changes Cinderella’s life forever. A live-action feature inspired by the classic fairy tale “Cinderella” brings to life the timeless images from Disney’s 1950 animated masterpiece as fully-realised characters in a visually-dazzling spectacle for a whole new generation. Directed by Academy Award® nominee Kenneth Branagh (“Thor ” “Hamlet”) and starring two-time Academy Award winner Cate Blanchett (“Blue Jasmine ” “Elizabeth”) Lily James (“Downton Abbey”) Richard Madden (“Game of Thrones”) and Academy Award nominee Helena Bonham Carter (“The King’s Speech ” “Alice in Wonderland”) “Cinderella” is produced by Simon Kinberg (“X-Men: Days of Future Past ” “Elysium”) Allison Shearmur (“The Hunger Games: Mockingjay Part 1”) and David Barron (“Harry Potter and the Deathly Hallows: Part 1”) with Tim Lewis (“Edge of Tomorrow”) serving as executive producer. The screenplay is by Chris Weitz (“About a Boy ” “The Golden Compass”) Cinderella (1950) Cinderella has faith her dreams of a better life will come true. With help from her loyal mice friends and a wave of her Fairy Godmothers wand Cinderella's rags are magically turned into a glorious gown and off she goes to the Royal Ball to meet her Prince. But when the clock strikes midnight the spell is broken leaving only a single glass slipper a slipper that will be the key to the ultimate fairy-tale ending!
Margaret (Valerie Leon) suffers a recurring nightmare in which she sees an ancient Egyptian queen, to whom she bears an uncanny resemblance, sealed up in a sarcophagus. The priests who entomb her first chop off her hand, before throwing it to jackals. They are then killed by a mysterious and powerful force that lacerates their throats. Margaret's father, Professor Fuchs (Andrew Keir), gives her a ring that he discovered in the tomb of Queen Tera 20 years before the ring was on the queen's disembodied hand. At the moment Fuchs discovered the Queen's perfectly preserved, still bleeding, body, Margaret's mother died giving birth to her. When a certain celestial conjunction is complete, and three key artefacts are assembled by Tera's corpse, the evil sorceress will be reborn EXTRAS: NEW FEATURETTE - The Pharaoh's Curse: Inside Blood From the Mummy's Tomb ORIGINAL TRAILER
Take the psychotic mother-daughter team from 'Carrie'. Add the 'fire girl' premise of 'Firestarter'. Mix in a generous helping of racy irreverent comedy and you get a towering inferno of fun called 'Nice Girls Don't Explode'. Barbara Harris plays Mom a domestic tyrant who makes Joan Crawford seem rather permissive. After seeing an ad for a movie called 'Fire Girl' Mom devises an elaborate scheme to shield daughter April from men and sex. She decides to fight fire with fire. Apri
In Cross of Iron Sam Peckinpah weighs in on World War II from the German point of view. The result is as bleak, if not quite as bloody, as one expects from the director of The Wild Bunch, in part because this 1977 film was cut to ribbons by nervous studio executives. The assorted excerpts that remain don't constitute an exhilarating or even an especially thrilling battle epic. The war is grinding to a close, and veterans like James Coburn's Steiner are grimly aware that it's a lost cause. The battlefield is a death trap of sucking mud and barbed wire, and the German generals (viz., the martinet played by James Mason) seem to pose a bigger threat to the life and limbs of Steiner's men than the inexorable enemy. Not even Peckinpah's famous sensuous exuberance when shooting violence is much in evidence; the picture is a depressive, claustrophobically overcast experience. The bloody high (or low) point isn't a shooting; it's a wince-inducing de-penis-tration during oral sex. For a fun time with the men in (Nazi) uniform, try Das Boot instead. --David Chute, Amazon.com
An extraordinarily racy movie for its time, The Wicked Lady was and still is as notable for its acres of heaving bosom as for its radical challenge to female stereotypes. This bodice-ripper about a bored aristocratic woman who turns highwayman just for kicks became a huge box-office success in post-war Britain, but Margaret Lockwood's eloquent bust proved a bit too expressive for Hollywood, so the film was expensively reshot for a sanitised US release. (From 1945 right up to Janet Jackson at the 2004 Superbowl, American audiences apparently have an enduring problem with those prominent parts of the female anatomy). This is the definitive Gainsborough picture, a period romp crammed with cads, in which the camera gazes lasciviously down (it's all shot from a male eyelevel) at the low-cut ladies' dresses. But this time the female anti-heroine gives as good as she gets... and then some. Lockwood's Lady Barbara Skelton is quite gleefully amoral--more so even than Thackeray's arch-manipulator Becky Sharp from Vanity Fair--failing even to pay lip service to the moral standards of the 1940s, let alone those of the 17th century. It is she who wears the trousers (quite literally, in her highwayman guise) while the weak-chinned and weak-willed men around her crumble under the weight of their conventionality. Only James Mason's handsome dandy highwayman can keep up with her, but even he has to draw the line somewhere. Ultimately, social mores reassert their grip and Lady Barbara gets her comeuppance, but not before she's overturned every contemporary movie convention about femininity. "She was the wickedest woman ever seen on the screen", trumpets the original theatrical trailer on this otherwise bare-bones DVD release: it's still probably true even today. --Mark Walker
A woman is on the run after being arrested on a trumped-up charge. Escaping from a crime lord and an arranged marriage she manages to seek help from an oil man called Steve Tanner in Texas. But her past is set to follow her overseas.....
Return of the Living Dead III is the third go-round for a premise intended as both a sequel to and a satire of the George A Romero Living Dead films. This could just as easily have been an entry in director Brian Yuzna's Re-Animator series, and indeed the plot nugget seems derived from the last shot of Re-Animator itself, as a devoted youth (J. Trevor Edmond) revives his freshly dead girlfriend (Mindy Clarke) with trioxin, a military zombie-making gas, and learns to regret his actions. Though it has some left-field ideas--the heroine turns herself into a DIY Hellraiser Cenobite poster-girl with extreme body piercing to distract herself from the desire to eat her boyfriend's brain--and effective action, it is still confined by its low budget and thus stuck with ordinary acting, a minimal plot and too many dumb developments. The central thread is the necrophile/SM romance, which ends up in a liebestod clinch in the army base's furnace, but there's a sub-plot about a quartet of zombified gang members which serves mainly to get some violence going every few minutes. Clarke is a striking presence, studded with bits of metal like a punk porcupine, but her performance flat lines even before her death in a motorcycle crash and revival as a zombie, while the rest of the cast--with the honourable exceptions of Kent McCord as a senior officer and Basil Wallace as a mystical down-and-out--are typified by Sarah Douglas' strident militarist mad scientist, who wants to put zombies in armoured exoskeletons and deploy them as combat troops. Nevertheless, this is gruesome fun for the fans, with some imaginative zombie mutilation effects. On the DVD: It's a no-frills full-screen transfer. The only extra is a 50-second trailer.--Kim Newman
The Breakfast Club (Dir. John Hughes 1985): Without doubt John Hughes' The Breakfast Club is one of the greatest teen movies of all-time if not the best. Without it we might not have witnessed the phenomenal rise of the 'Brat Pack'; the group of actors synonymous with the teen films of the '80s. They were five teenage students with nothing in common faced with spending a Saturday detention together in their High School library. At 7am they had nothing to say but
You've never seen anything like it. An utterly engrossing story of rampaging neo-Nazi skinheads that may well be one of the most disturbing films. It's intoxicating violence and willingness to suspend moral judgement on its hypnotic characters make the film complex. Emotionally powerful and never afraid to portray the ugly destructive face of ignorance and prejudice 'Romper Stomper' excites disturbs and boldly challenges the viewer. Winner of 3 Australian Institute Awa
Roger Moore was introduced as James Bond in this 1973 action movie featuring secret agent 007. More self-consciously suave and formal than predecessor Sean Connery, he immediately re-established Bond as an uncomplicated and wooden fellow for the '70s. This film also marks a deviation from the more character-driven stories of the Connery years, a deliberate shift to plastic action (multiple chases, bravura stunts) that made the franchise more of a comic book or machine. If that's not depressing enough, there's even a good British director on board, Guy Hamilton (Force 10 from Navarone). The story finds Bond taking on an international drug dealer (Yaphet Kotto), and while that may be superficially relevant, it isn't exactly the same as fighting super-villains on the order of Goldfinger. --Tom Keogh, Amazon.comOn the DVD: Anyone old enough to remember the old milk marketing board commercials will relish the sight of James Bond exhorting everyone to "drink a pinta milka day" in one of the TV spots included here. Elsewhere in the special features, the characteristically in-depth "making of" featurette has a mixture of both contemporary and new interviews plus behind-the-scenes footage (the alligator-jumping sequence is positively hair-raising). The first of two audio commentaries is hosted by John Quark of the Ian Fleming Foundation and features a variety of cast and crew members, notably director Guy Hamilton; the second has writer Tom Mankiewicz on his own, who in between pauses has the occasional interesting thing to say. Overall another good package of features to accompany another excellent anamorphic print. --Mark Walker
Ned (Bryan Cranston), an overprotective dad, visits his daughter at Stanford where he meets his biggest nightmare: her well-meaning but socially awkward Silicon Valley billionaire boyfriend, Laird (James Franco). A rivalry develops and Ned's panic level goes through the roof when he finds himself lost in this glamorous high-tech world and learns Laird is about to pop the question.
Chuck Norris stars as John T. Booker Leader of the Black Tigers a US Army Special Forces unit in Vietnam charged with rescuing POWs from behind enemy line. During one mission half of his 12-man team is ambushed. Booker and the other five survivors must fight their way through the jungle to freedom.
"Sex and Drugs and Rock and Roll" is the 2009 film of the Ian Dury story starring Andy Serkis in the role of the punk legend.
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