The Flaxton Boys' story concludes with the fourth series in the epic children's drama charting the adventures of four generations of a family at their imposing manor house in a fictional Yorkshire village. Seventeen years have passed the since the previous series. It is now August 1945, and Jonathan's son Matthew and Terry Nichols are the new Flaxton Boys. As World War Two comes to an end, the soldiers who were billeted at Flaxton Hall are preparing to leave. The evacuees, too, are on the move all, that is, except Terry, a boy who has no home to return to. He and Matthew are not immediately the best of friends, but with Benjamin's return from the Navy, a shared adventure is to bring them together.
When murder becomes a virtual reality... The stylish Channel 4 tale of urban murder features Paul Bettany in his first leading role. Two Brighton-based students buy an internet murder game and are amazed by its realistic qualities. They perform the perfect cyber murder but soon the boundaries between fantasy and reality become blurred when a real copycat killing takes place. Leaving the game it seems can be murder... Written by BAFTA award winner Lynda La Plante.
Miss Julie is a claustrophobic class study set within a 19th-century Count's kitchen. It chronicles the events of one midsummer night when the housemistress--an obstinate and confused Julie (Saffron Burrows)--is beaten in a round of sexual gaming with footman Peter Mullan. Based on the play by August Strindberg, the film maintains a constant sense of theatre by only having three speaking parts (the other coming from Maria Doyle Kennedy as Christine, the long-suffering cook and fiancée), just one set and a penchant for hand-held camerawork by director Mike Figgis. Known for his experimental approach to storytelling, this is technically a predecessor to Figgis' Timecode, since the all-important rape scene is conveyed through a disorientating split-screen technique. He'd worked with fellow Brit Burrows before on The Loss of Sexual Innocence and One Night Stand, but gives the gal with the outsized cheekbones top billing here and is rewarded with a thoroughly rounded performance. Backed by the director's own musical score, this melodrama has a very personal feel to it. --Paul Tonks
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