Arthur Penn's chronicle of hippie life during the late 1960s garnered the acclaimed director his second Oscar nomination. Based on the song by folk music troubadour Arlo Guthrie son of legendary ""Dust Bowl"" balladeer Woody Guthrie this tribute film to ""the last generation"" features memorable scenes with other folk artists like Pete Seeger who join Arlo in song to make a profound statement about war protest and change. In the late '60s a changing social and political climate inspi
First there was an opportunity......then there was a betrayal.Twenty years have gone by. Much has changed but just as much remains the same.Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.Click Images to Enlarge
Set in Nazi-occupied France at the height of World War Two the story centres on a young Scottish woman (Cate Blanchett) working with the French Resistance in the hope of rescuing her lover, a missing RAF pilot shot down behind enemy lines.
Heroes is back with Season 2! From creator and writer Tim Kring comes the Emmy and Golden Globe nominated Heroes an epic drama that chronicles the lives of ordinary people who discover they possess extraordinary abilities.
Cheated out of his rightful inheritance after being kidnapped young David Balfour joins forces with daring adventurer Alan Breck Stewart and together they flee across the Highlands to evade the King's redcoat forces...
Whoopi Goldberg returns in a gratuitous, poorly written sequel that contrives a reason to get her character back into Maggie Smith's convent. The "socially conscious" plot finds Goldberg being asked to relate to a bunch of street kids and pull them together into a choir. Since a bad guy is needed, the script grabs that old chestnut about a rich guy (James Coburn) preparing to close down the convent's school, and runs with it. The film is slow and unconvincing from start to finish, although co-stars Mary Wickes and Kathy Najimy get some good laughs, and the music is pretty spirited. --Tom Keogh
Lucas a bank robber newly released from prison is given a lift to the bank by two local cops who are taking bets on how long they think he'll remain straight. Once inside the bank Lucas is taken hostage by an amateur thief and is forced into going on the run with the man and his six-year-old daughter...
Based on the French film, The Return of Martin Guerre (which itself was based on a famous court case), this 1993 film by director Jon Amiel recasts the same essential story in post-Civil War Tennessee, in a dirt-poor town suffering the effects of the South's loss. Jodie Foster plays Laurel Sommersby, a widow whose husband died in the Civil War--or so everyone thinks. Then one day, Jack Sommersby (Richard Gere) strolls back into town and back into Laurel's bed--seemingly a very changed man. Gone is the selfish, nasty guy no one much liked. In his place is a friendly, sensitive and resourceful new Jack who not only rekindles the long-dead fire of his marriage, but revives the entire town. Except for one small catch: he may not actually be Jack Sommersby at all. Beautifully shot by Amiel (with a great assist from cameraman Philippe Rousselot) from a script by Nicholas Meyer and Sarah Kernochan, the film features a sturdy, even flinty performance by Foster and a beguiling one by Gere. Though the ending will squeeze the tear ducts, the film earns those tears. --Marshall Fine, Amazon.com
Murdoch Troon (Baxter) attempts to woo the daughter (Christie) of wealthy businessman Charles Chingford by impressing her with a vintage Bentley known as 'The Fast Lady'...
Adrian (James Fleet) is an unmarried unworldly and somewhat unstable dairy farmer who has spent most of his adult life on a farm in Wiltshire looking after his elderly slightly quirky mother Lucy. Upon finding his mother dead Adrian then has to deal with the arrival of his two sisters Harriet (Francesca Annis) and Virginia (Dawn French) his uncle his mother's lover and her closest friend Veronica (Phyllida Law). They all want a piece of Lucy they all have conflicting plans for
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
In Roger Moore's first outing as 007 he investigates the murders of three fellow agents he soon finds himself a target evading vicious assassins as he closes in on the powerful Kananga (Yaphet Kotto). Known on the streets as Mr Big Kananga is co-ordinating a globally threatening scheme using tons of self-produced heroin. As Bond tries to unravel the mastermind's plan he meets Solitaire (Jane Seymour) the beautiful Tarot card reader whose magical gifts are crucial to the crime lord. Bond of course works his own magic on her and the stage is set for a series of pulse-pounding action sequences involving voodoo hungry crocodiles and turbo-charged speedboats.
Gigolo con-man Latigo Smith needs to get something off his chest - the tattooed name of his most recent ex-fiance. But while he is waiting for the local doctor to sober up and perform the operatio Smith overhears that local mining baron Taylor Barton is looking to shut down his mining competition by hiring the notorious gunman Swifty Morgan. Seizing the opportunity for an easy con Smith passes off a reprobate cow-hand as the dreaded Swifty and pockets the cash. Bank roll in hand
Flint's back! In Action... In Danger... In the Virgin Islands... Where the Bad Guys... Are Girls! 007 is a great number. And Austin has his powers but nobody is really ""In Like Flint!"" He's back in the ultimate spy spoof this time going head-to-head with a group of wealthy and powerful female tycoons who have discovered a way to brainwash women through beauty salon hairdryers! And if that's not enough they then replace the President with their surgically reproduced clone a
Sofia Coppola's stunning directorial debut, on 4K UHD for the first time. Featuring a spellbinding performance from Kirsten Dunst. With mesmeric cinematography from Edward Lachman, accompanied by a cult soundtrack from French duo Air, The Virgin Suicides remains a coming-of-age classic. In a quiet, conservative American town in the 1970s, Cecilia Lisbon, just 13, attempts suicide. She is one of five beautiful teenage sisters and this incident begins to unravel the lives of the entire family. The story is told from the point of view of the neighbourhood boys who are obsessed with these enigmatic sisters and draws its dark humour from the fabric of teenage life. Little by little, the family begins to shut itself off from friends and neighbours and the girls are soon forbidden to go out. As the situation spirals downward, the boys plot to rescue the girls. Product Features 4K restoration from Criterion, approved by director Sofia Coppola and supervised by cinematographer Ed Lachman. NEW Soundtrack by Air: Interview with JB Dunckel & Nicolas Godin Revisiting The Virgin Suicides (2018) In Conversation with Jeffrey Eugenides(2018) Making The Virgin Suicides (1998) Lick the Star short film (1998)
In Roger Moore's first outing as 007 he investigates the murders of three fellow agents he soon finds himself a target evading vicious assassins as he closes in on the powerful Kananga (Yaphet Kotto). Known on the streets as ""Mr Big"" Kananga is co-ordinating a globally threatening scheme using tons of self-produced heroin. As Bond tries to unravel the mastermind's plan he meets Solitaire (Jane Seymour) the beautiful Tarot card reader whose magical gifts are crucial to the crime lord. Bond of course works his own magic on her and the stage is set for a series of pulse-pounding action sequences involving voodoo hungry crocodiles and turbo-charged speedboats.
Anthony Powell's 12 volume novel sequence A Dance to the Music of Time dramatised for television.
The Man Who Shot Liberty Valance is a late film from the long career of director John Ford that tells of the civilising of an Old West town, Shinbone, through the sad memories of settlers looking back. Ford's nostalgia for the past is tempered by his stark approach, unusual for the visual poet of Stagecoach and The Searchers. The two heavyweights, John Wayne and James Stewart, are good together, with Wayne the embodiment of rugged individualism and Stewart the idealistic prophet of the civilisation that will eventually tame the Wild West. This may be the saddest Western ever made, closer to an elegy than an action movie, and as cleanly beautiful as its central symbol, the cactus rose. --Robert Horton
Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak
The film that effectively launched the star careers of Robert Carlyle, Ewan McGregor and Jonny Lee Miller is a hard, barbed picaresque, culled from the bestseller by Irvine Welsh and thrown down against the heroin hinterlands of Edinburgh. Directed with abandon by Danny Boyle, Trainspotting conspires to be at once a hip youth flick and a grim cautionary fable. Released on an unsuspecting public in 1996, the picture struck a chord with audiences worldwide and became adopted as an instant symbol of a booming British rave culture (an irony, given the characters' main drug of choice is heroin not ecstasy).McGregor, Lee Miller and Ewen Bremner play a slouching trio of Scottish junkies; Carlyle their narcotic-eschewing but hard-drinking and generally psychotic mate Begbie. In Boyle's hands, their lives unfold in a rush of euphoric highs, blow-out overdoses and agonising withdrawals (all cued to a vogueish pop soundtrack). Throughout it all, John Hodge's screenplay strikes a delicate balance between acknowledging the inherent pleasures of drug use and spotlighting its eventual consequences. In Trainspotting's world view, it all comes down to a question of choices--between the dangerous Day-Glo highs of the addict and the grey, grinding consumerism of the everyday Joe. "Choose life", quips the film's narrator (McGregor) in a monologue that was to become a mantra. "Choose a job, choose a starter home... But why would anyone want to do a thing like that?" Ultimately, Trainspotting's wised-up, dead-beat inhabitants reject mainstream society in favour of a headlong rush to destruction. It makes for an exhilarating, energised and frequently terrifying trip that blazes with more energy and passion than a thousand more ostensibly life-embracing movies. --Xan Brooks
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