A collection of six classic Doris Day movies in one bumper value box set! Young At Heart (1955) Barney Sloan (Frank Sinatra) is a cynical down-on-his-luck musician who reluctantly agrees to help his composer friend Alex Burke (Gig Young) with a new comedy he is working on. However Barney gains a new perspective on life and love when he meets Alex's irrepressibly perky fiancee Laurie (Doris Day) - and promptly falls in love with her! Lover Come Back (1961) Account ex
Best of enemies. Deadliest of friends. They are fast friends and worse foes. One is Billy the Kid (Kris Kristofferson) a law unto himself. The other is the law: Sheriff Pat Garrett (James Coburn) who once rode with Billy. Set to a bristling score by Bob Dylan (who also plays Billy's sidekick Alias) and with a `Who's Who' of iconic Western players Sam Peckinpah's saga of one of the West's great legends is now restored to its intended glory. For the first time since it left
Matthew McConaughey goes looking for some long lost treasure in this adaptation of Clive Cussler's book.
This release features 15 of the most memorable Neighbours episodes including: Scott and Charlene's wedding Brad and Beth's wedding and the tragic demise of Helen Daniels. Witness early screen appearances by such future megastars as Kylie Minogue Jason Donovan Natalie Imbruglia and Craig McLachlan. Shed a tear at the raw emotional power of the song 'Suddenly' by Angry Anderson.
RISE OF THE PLANET OF THE APES combines fantastic storytelling with the next leap in Visual Effects for an emotional and action-packed motion picture experience unlike any other.
A spin-off of the popular 'Power Rangers' children's TV show 'Dino Thunder' features a team of kids who discover ancient rocks that give them the ability to transform themselves into superheroes. With the help of manufactured dinosaurs they fight mutants created by an evil paleontologist. In these episodes a meteor crashes to earth and changes the Power Rangers' personalities. Conner normally a star soccer player has mysteriously turned into the scholarly type. Hardly the fashion
This bumper Christmas compilation features episodes from many of the all time sitcom greats including: On The Buses Nearest & Dearest Rising Damp Please Sir! Dustbinmen Two's Company Billy Liar Home To Roost The Rag Trade Duty Free Watching and many more! Episodes Include: 1. The Dustbinmen Christmas Special (1969) 2. Please Sir! - Peace In Our Time (1970) 3. On The Buses - Christmas Duty (1970) 4. All This And Christmas Too (1971) 5. Nearest And Dearest - Cindermel
From its charming and angst-ridden first season to the darker, apocalyptic final one, Buffy the Vampire Slayer succeeds on many levels, and in a fresher and more authentic way than the shows that came before or after it. How lucky, then, that with the release of its boxed set of seasons 1-7, you can have the estimable pleasure of watching a near-decade of Buffy in any order you choose. (And we have some ideas about how that should be done.) First: rest assured that there's no shame in coming to Buffy late, even if you initially turned your nose up at the winsome Sarah Michelle Gellar kicking the hell out of vampires (in Buffy-lingo, vamps), demons, and other evil-doers. Perhaps you did so because, well, it looked sort of science-fiction-like with all that monster latex. Start with season 3 and see that Buffy offers something for everyone, and the sooner you succumb to it, the quicker you'll appreciate how textured and riveting a drama it is. Why season 3? Because it offers you a winning cast of characters who have fallen from innocence: their hearts have been broken, their egos trampled in typically vicious high-school style, and as a result, they've begun to realise how fallible they are. As much as they try, there are always more monsters, or a bigger evil. Despite this, or perhaps because of it, the core crew remains something of a unit--there's the smart girl, Willow (Alyson Hannigan) who dreams of saving the day by downloading the plans to City Hall's sewer tunnels and mapping a route to safety. There are the ne'r do wells--the vampire Spike (James Marsters), who both clashes with and aspires to love Buffy; the tortured and torturing Angel (David Boreanz); the pretty, popular girl with an empty heart (Charisma Carpenter); and the teenage everyman, Xander (Nicholas Brendon). Then there's Buffy herself, who in the course of seven seasons morphs from a sarcastic teenager in a minidress to a heroine whose tragic flaw is an abiding desire to be a "normal" girl. On a lesser note, with the boxed set you can watch the fashion transformation of Buffy from mall rat to Prada-wearing, kickboxing diva with enviable highlights. (There was the unfortunate bob of season 2, but it's a forgivable lapse.) At least the storyline merits the transformations: every time Buffy has to end a relationship she cuts her hair, shedding both the pain and her vulnerability. In addition to the well-wrought teenage emotional landscape, Buffy deftly takes on more universal themes--power, politics, death, morality--as the series matures in seasons 4-6. And apart from a few missteps that haven't aged particularly well ("I Robot" in season 1 comes to mind), most episodes feel as harrowing and as richly drawn as they did at first viewing. That's about as much as you can ask for any form of entertainment: that it offer an escape from the viewer's workaday world and entry into one in which the heroine (ideally one with leather pants) overcomes demons far more troubling than one's own. --Megan Halverson
George Bizet's opera 'Carmen' performed by the Metropolitan Opera Chorus and Orchestra. Conducted by James Levine.
Very few first-time film directors would have been capable of making such a triumphant adaptation of Henry V; but a still-youthful Kenneth Branagh's years of stage experience paid off handsomely and his 1989 version qualifies as a genuine masterpiece, the kind of film that comes along once in a decade. He eschews the theatricality of Laurence Olivier's stirring, fondly remembered 1945 adaptation to establish his own rules: Branagh plays it down and dirty, seeing the Bard's play through revisionist eyes, framing it as an anti-war story in contrast to Olivier's patriotic spectacle. Branagh gives us harsh close-ups of muddied, bloody men, and of himself as Henry, his hardened mouth and wilful eyes revealing much about the personal cost of war. Not that the director-star doesn't provide lighter moments: his scenes introducing the French Princess Katherine (Emma Thompson) trying to learn English quickly from her maid are delightful. What may be the crowning glory of Branagh's adaptation comes when the dazed leader wanders across the battlefield, not even sure who has won. As King Hal carries a dead boy (a young Christian Bale) over the hacked bodies of both the English and French, a panorama of blood and mud and death greet the viewer as Branagh opens up the scene and Patrick Doyle's rousing hymn "Non nobis, Domine" provides marvellous counterpoint (like the director, the composer was another filmic first-timer). A more potent expression of the price of victory could scarcely be imagined. --Rochelle O'Gorman, Amazon.com
Peter Parker (Tobey Maguire) has finally managed to strike a balance between his devotion to M.J. (Kirsten Dunst) and his duties as a superhero. But when his suit suddenly changes, turning jetblack and enhancing his powers, it transforms Peter, bringing out a dark vengeful side that he struggles to control. He must now battle his inner demons as two of the mostfeared villains yet, Sandman (Thomas Haden Church) and Venom (Topher Grace), gather unparalleled power and a thirst for revenge which threatens Peter and everyone he loves. Features: Commentaries
Picking Up The Pieces: Tex (Woody Allen) a kosher butcher from New York under the witness protection program in Arizona has a problem. He has just killed his wife Candy (Sharon Stone) in a jealous rage after discovering she's having an affair with the local sheriff (Keifer Sutherland). He's cut her body into pieces and has taken them to the Mexican border but he's lost one of her hands! A blind old village woman stumbles upon the hand hits her head and miraculously regains her eyesight. Soon thousands are flocking to the local church to see the hand of the 'Madonna' and miracles are granted to all who ask. But the village priest (David Schwimmer) who is in love with the town hooker (Maria Grazia Cucinotta) senses that the hand's origin is not quite 'virginal'. Tex the Sherrif and the Priest all want something done with the hand and the unpredictable outcome proves to be both magical and hilarious. Miss Firecracker: Comedy about Carnelle (Hunter) a sexually-loose hellraiser who enters the Miss Firecracker contest in the very old-fashioned town where she was raised Yazoo City Mississippi. Carnelle's not the usual kind of contestant -- but her cousin is a famous winner -- and Carnelle's determined to equal her no matter what the obstacles.
Detective Superintendent Sandra Pullman heads The Unsolved Crime and Open Case Squad (UCOS) cracking previously unsolved crimes from the past. Her team are three ex policemen; Gerry Standing Jack Halford and Brian Lane who have all opted for early retirement. In series 7 they reopen a case when the victim's daughter provides new evidence - from a psychic. A fashion designer's retrospective reignites the mystery of his stabbing during a party eight years ago. When the team are approached by a known paedophile who confesses to murder they find themselves trying to prove his innocence. A woman on remand brings information to UCOS about an apparently accidental fire 14 years ago and an old adversary brings them fresh information on a 30 year old bank job that threatens to finish the unit forever.
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
Sparrows Can't Sing, directed by Joan Littlewood and starring Barbara Windsor (Carry on Camping) in her BAFTA nominated role as Maggie, is a 1963 kitchen sink classic filmed in the East End of London. There's panic in Stepney; from the stalls in the street to the bar of the Red Lion the word goes out: tearaway Charlie Gooding (James Booth, Zulu) is back from two years at sea, and on the way home to his old stamping ground. The trouble is that Charlie isn't up to date with the news. Bonus Features: INTERVIEW WITH PETER RANKIN (JOAN LITTLEWOOD BIOGRAPHER) LOCATIONS FEATURETTE WITH RICHARD DACRE (FILM HISTORIAN) STILLS GALLERY INTERVIEW WITH MURRAY MELVIN BFI Q&A WITH BARBARA WINDSOR & MURRAY MELVIN TRAILER
Based on a true story, The Conspirator tells the powerful story of a woman who would do anything to protect her family, and the man who risked everything to save her.In the wake of Abraham Lincoln's assassination, seven men and one woman are arrested and charged with conspiring to kill the President, Vice President, and Secretary of State.The lone woman charged, Mary Surratt (Wright) owns a boarding house where John Wilkes Booth (Toby Kebbell) and others met and planned the simultaneous attacks. Against the ominous back-drop of post-Civil War Washington, newly-minted lawyer, Frederick Aiken (McAvoy), a 28-year-old Union war-hero, reluctantly agrees to defend Surratt before a military tribunal.Aiken realizes his client may be innocent and that she is being used as bait and hostage in order to capture the only conspirator to have escaped a massive manhunt, her own son, John (Johnny Simmons). As the nation turns against her, Surratt is forced to rely on Aiken to uncover the truth and save her life.
From producer Peter Jackson (The Lord of the Rings Trilogy) and director Neill Blomkamp comes a startlingly original science-fiction thriller. With stunning special effects and gritty realism, the film plunges us into a world where the aliens have landed only to be exiled to a slum on the fringes of Johannesburg. Now, one lone human discovers the mysterious secret of the extra-terrestrial weapon technology. Hunted and hounded through the bizarre back alleys of an alien shantytown, he will discover what it means to be the ultimate outsider on your own planet.
From the macabre imagination of Stephen King (the best-selling author of 'Firestarter' 'The Shining' and 'Carrie') comes this trio of terrifying tales linked by a stray cat that roams from one story to the next. In the first episode a New York man (James Woods Vampires Nixon) has trouble giving up cigarettes. He turns to a shady self-help operation whose hot-headed owner outlines a litany of incrementally harsh penalties for those who cannot resist having another puff. The second story centers on Cressner (Kenneth McMillan) an Atlantic City mobster. His wife has been having an affair with a tennis pro (Robert Hays) so Cressner forces the athlete to walk the ledge around his high-rise apartment. If the athlete can complete one lap along the overhang he gets to be with Cressner's wife forever. In the closing narrative a young girl (Drew Barrymore Scream E.T.: The Extra-Terrestrial) has difficulty sleeping. Though her parents suspect the family cat of wrongdoing the girl knows better especially after she spots a foot-high troll coming out of her bedroom wall...
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