During the 1940s the Rank Organisation was a phenomenal success in the film world boasting five studios two newsreels a great many production companies a staff of 31 000 650 cinemas and an incredible turnover of 45 million. To celebrate 70 years of Britain's most acclaimed film studio this fantastic collection encompasses some of Ranks most prestigious and successful films. The Red Shoes The tragic and romantic story of Vicky Page the brilliant young dancer who must giv
Based on the stage production by Anthony Besch.
Animated adaptation of Richard Adams' novel about two dogs that are hunted down after they escape from an animal-research centre.
An unemployed dock worker discovers over a million dollars and a whole load of trouble...
Mort Rainey (Johnny Depp) is a best-selling author with hundreds of fans. But one of his stories holds a secret that comes to life; a secret that even he can't imagine.
This lushly produced fantasy has gained a loyal following since its release in 1985, and it gave a welcome boost to the careers of Matthew Broderick, Michelle Pfeiffer and Rutger Hauer. You have to ignore the overly aggressive music score by Andrew Powell, music director of the Alan Parsons Project (critic Pauline Kael aptly dubbed it "disco-medieval") and director Richard Donner's reckless allowance of anachronistic dialogue and uninspired storytelling, but there's a certain charm to the movie's combination of romance and heroism. Broderick plays a young thief who comes to the aid of tragic lovers Isabeau (Pfeiffer), who is cursed to become a hawk every day at sunrise and Navarre (Hauer) who turns into a wolf at sunset. The curse was cast by an evil sorcerer-bishop (John Wood), and as Broderick eludes the bishop's henchmen, Navarre struggles to conquer the villain, lift the curse and be reunited with his love in human form. The tragedy of this lovers' dilemma keeps the movie going, and Broderick is well cast as a young, medieval variation of Woody Allen. --Jeff Shannon
Leslie Banks stars alongside Alastair Sim, John Mills and a very young George Cole in this thrilling wartime espionage drama from award-winning director Anthony Asquith. Adapted from Geoffrey Kerr's smash West End play (which also starred Banks, Sim and Cole), Cottage to Let is presented here as a brand-new High Definition transfer from original film elements in its original theatrical aspect ratio. Working in secret for the Air Ministry at his remote country house laboratory, John Barrington is key to the ongoing war effort against the Nazis. Barrington's household, however, has been infiltrated by enemy agents - who plan to take him back to Berlin as prisoner. Special Features: Image gallery
John Wayne is a Texas Ranger in this rollicking, good humored western, assigned to bring an arms-running gang to justice. After Wayne arrests one of the criminals, matters are complicated when they wander into an area controlled by the Comancheros- a group of Anglos aiding the warring Comanche Indians. Director Curtiz' last film is based on the novel by Paul I. Wellman.
La Belle et La Bete is one of the all-time great movie fantasies, and one of the most gorgeous pictures ever made. It was the first feature film by French director Jean Cocteau, a writer, poet and painter with ties to the surrealists. (In fact, his first film, The Blood of a Poet, was delayed after the scandal caused by L'Age D'Or, made by his fellow surrealists Luis Buñuel and Salvador Dali.) The haunting, surreal visuals (candelabra made of human hands, for example) and a sensitive performance by Jean Marais as the Beast imbue the film with an indelible, mythical power. --Jim Emerson, Amazon.com
Is it time, after the anonymous disaster of Mission to Mars, to give Brian De Palma's famously doomed film of Tom Wolfe's bulky novel Bonfire of the Vanities another chance? The uproarious ins and outs of the film's troubled production have become well-known via Julie Salamon's account of its making, The Devil's Candy, and fans of that might want to flick between page and screen to see just when Melanie Griffith caused untold continuity problems by having her breasts inflated. Techno buffs will surely appreciate the pointless but somehow wonderful trickery of an extended tracking shot at the outset that exists only to last a few seconds longer than the one in Orson Welles Touch of Evil (1958). Tom Hanks was rather better cast than was generally allowed, as "master of the universe" Sherman McCoy, who comes a cropper after a hit-and-run accident, since his nice-guy act shows intriguing cracks. And even Bruce Willis does his best on a hiding to nothing as the drunken writer. It is funny in parts, agonising in others, and misses Wolfe's tone--but somehow its failures might make it as symptomatic of the long-gone excesses of the early 90s as the novel was of the 80s. --Kim Newman
As a Christmas treat in the late 1960s and 70s, the BBC produced adaptations of ghost stories based on the works of MR James, the Cambridge academic and author of some of the most spine-tingling tales in the English language, which were broadcast to terrified viewers in the dead of winter. This was a tradition that was briefly revived by the BBC between 2007 and 2010. These adaptations, which have a subtlety and style all of their own, have been a major influence on many contemporary British horror filmmakers and have come to be some of the most sought after British TV titles of all time by their legions of eager fans. Episode Comprise: Whistle and I’ll Come to You. The Stalls of Barchester. A Warning to the Curious. Lost Hearts. The Treasure of Abbot Thomas. The Ash Tree. The Signalman. Stigma. The Ice House. A View from a Hill. Number 13.
Nice concept, shaky execution--that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies and its central idea--the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow--is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the centre of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch)and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: the two scenarios are so romantically unbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. --Jeff Shannon
Jim and Hilda Bloggs (Sir John Mills and Dame Peggy Ashcroft) are a middle-aged couple, who believe that the British government is in control as they prepare for Nuclear War. When the countdown begins they roll up their shirtsleeves and follow government guidelines that were actually distributed to households around Britain in the 1970s. They paint their windows white, build a fortress of doors and pillows, take the washing in and put away two packets of ginger nuts, one tin of pineapple chunks and a good supply of tea. This cautionary tale is both humorous and macabre in its consideration of one of the most horrific possibilities of modern life. When the Wind Blows is a story about love, tenderness, humanity and hope. Adapted by Raymond Briggs (The Snowman) from his best-selling book, When the Wind Blows features an original soundtrack by Roger Waters, and a title song by David Bowie. Extras: Presented in High Definition and Standard Definition Audio commentary with first assistant editor Joe Fordham and film historian Nick Redman Jimmy Murakami: Non-Alien (2010, 73 mins): feature-length documentary about the film's director Interview with Raymond Briggs (2005, 14 mins) The Wind and the Bomb (1986, 20 mins): the making-of When the Wind Blows Protect and Survive (1975, 51 mins): public information film about how to survive in the event of a nuclear attack Isolated music and effects track Fully illustrated booklet with a new introduction by Raymond Briggs, essays by Jez Stewart, Clare Kitson and Bella Todd and full film credits
Sequel to 'Saturday Night Fever' where Tony Manero older but not much wiser pursues his search for stardom on the Broadway stage...
The MummyIf you're expecting bandaged-wrapped corpses and a lurching Boris Karloff-type villain, then you've come to the wrong movie. But if outrageous effects, a hunky hero, and some hearty laughs are what you're looking for, the 1999 version of The Mummy is spectacularly good fun. Yes, the critics called it "hokey," "cheesy," and "pallid." Well, the critics are unjust. Granted, the plot tends to stray, the acting is a bit of a stretch, and the characters occasionally slip into cliché, but who cares? When that action gets going, hold tight--those two hours just fly by. The premise of the movie isn't that far off from the original. Egyptologist and general mess Evelyn (Rachel Weisz) discovers a map to the lost city of Hamunaptra, and so she hires rogue Rick O'Connell (Brendan Fraser) to lead her there. Once there, Evelyn accidentally unlocks the tomb of Imhotep (Arnold Vosloo), a man who had been buried alive a couple of millennia ago with flesh-eating bugs as punishment for sleeping with the pharaoh's girlfriend. The ancient mummy is revived, and he is determined to bring his old love back to life, which of course means much mayhem (including the unleashing of the 10 plagues) and human sacrifice. Despite the rather gory premise, this movie is fairly tame in terms of violence; most of the magic and surprise come from the special effects, which are glorious to watch, although Imhotep, before being fully reconstituted, is, as one explorer puts it, rather "juicy." Keep in mind this film is as much comedy as it is adventure--those looking for a straightforward horror pic will be disappointed. But for those who want good old-fashioned eye-candy kind of fun, The Mummy ranks as one of choicest flicks of 1999. --Jenny BrownThe Mummy Returns Proving that bigger is rarely better, The Mummy Returns serves up so much action and so many computer-generated effects that it quickly grows exhausting. In his zeal to establish a lucrative franchise, writer-director Stephen Sommers dispenses with such trivial matters as character development and plot logic, and charges headlong into an almost random buffet of minimum story and maximum mayhem, beginning with a prologue establishing the ominous fate of the Scorpion King (played by World Wrestling Federation star the Rock, in a cameo teaser for his later starring role in--you guessed it--The Scorpion King). Dormant for 5,000 years, under control of the Egyptian god Anubis, the Scorpion King will rise again in 1933, which is where we find The Mummy's returning heroes Brendan Fraser and Rachel Weisz, now married and scouring Egyptian ruins with their 8-year-old son, Alex (Freddie Boath). John Hannah (as Weisz's brother) and Oded Fehr (as mystical warrior Ardeth Bay) also return from The Mummy, and trouble begins when Alex dons the Scorpion King's ancient bracelet, coveted by the evil mummy Imhotep (Arnold Vosloo), who's been revived by... oh, but does any of this matter? With a plot so disposable that it's impossible to care about anything that happens, The Mummy Returns is best enjoyed as an intermittently amusing and physically impressive monument of Hollywood machinery, with gorgeous sets that scream for a better showcase, and digital trickery that tops its predecessor in ambition, if not in payoff. By the time our heroes encounter a hoard of ravenous pygmy mummies, you'll probably enjoy this movie in spite of itself. --Jeff ShannonThe Mummy: Tomb of the Dragon Emperor The third film in the The Mummy series freshens the franchise up by setting the action in China. There, the discovery of an ancient emperor's elaborate tomb proves a feather in the cap of Alex O'Connell (Luke Ford), a young archaeologist and son of Rick O'Connell (Brendan Fraser) and his wife Evelyn (Maria Bello, taking over the role from Rachel Weisz). Unfortunately, a curse that turned the emperor (Jet Li) and his army into terra cotta warriors buried for centuries is lifted, and the old guy prepares for world domination by seeking immortality at Shangri La. The O'Connells barely stay a step ahead of him (climbing through the Himalaya mountains with apparent ease), but the action inevitably leads to a showdown between two armies of mummies in a Chinese desert. The Mummy: Tomb of the Dragon Emperor has a lot to offer: a supporting cast that includes the elegant Michelle Yeoh, Russell Wong, and Liam Cunningham, the unexpected appearance of several Yeti, and a climactic battle sequence that is nightmarishly weird but compelling. On the downside, the charm so desperately sought in romantic relationships, as well as comic turns by John Hannah (as Evelyn's rascal brother), is not only absent but often annoying. Rarely have witty asides in the thick of battle been more unwelcome in a movie. Rob Cohen's direction is largely crisp if sometimes curious (a fight between Fraser and Jet Li keeps varying in speed for some reason), but his vision of Shangri La, in the Hollywood tradition, is certainly attractive. --Tom Keogh
In 19th-century England a peasant named John Durbeyfield discovers that he descends from a noble family the d'Urbervilles. He sends his eldest daughter Tess to live with Alec d'Urberville a rich cousin. It soon emerges that the illustrious name was purchased by Alec's father and emotional entanglements soon spiral out of control...
A production of the Shakespeare tragedy which brings out the themes of family relationship youth versus age and the struggle of good over evil.
The Bus of the title is the world's first nuclear-powered coach and this fabulous parody of early 70's disaster movies hits the mark with misfit stereotyped passengers rediscovering God sex and the will to live a saboteur from the oil companies and a cannibalistic driver all coming together for the maiden voyage of the block-long super-coach. The passengers on this fun-filled ride from New York to Denver including ensure that the one-liners come thick and fast in this very funn
There's something inescapably appealing about Krull, a camp Star Wars-meets-The Lord of the Rings knock-off, that encourages the viewer to overlook it's very many silly shortcomings and simply enjoy the fun. James Horner's rollicking music score--written soon after his similarly memorable contribution to Star Trek II: The Wrath of Khan--certainly helps, as does the epic-scale CinemaScope photography of the breathtaking Italian landscapes. The costumes and extravagant production design are also great to look at, and much of Derek Meddings' visual effects work still looks striking if not exactly state-of-the-art. Of the cast, Freddie Jones stands head and shoulders above all others as the Obi Wan Kenobi-meets-Gandalf character Ynyr: his trip to the centre of the spider's web is both genuinely scary and genuinely touching. The two romantic leads, Ken Marshall as the Luke Skywalker-meets-King Arthur clone Prince Colwyn and Lysette Anthony (with an overdubbed American voice) as his Leia-Guinevere Princess Lyssa, are mere formalities on which to hang the plot. Ironic fun can be had with the all-British supporting cast, which includes Todd Carty of Eastenders fame and Carry On's Bernard Bresslaw, as well as Robbie Coltrane, Liam Neeson and the gorgeous Francesca Annis. On the DVD: Krull comes to DVD in an anamorphic widescreen print, preserving the luscious CinemaScope look of the theatrical release. The Dolby 5.1 sound lives up to the picture. There are two commentary tracks: on the first, director Peter Yates talks through the movie, with contributions from other crew members and leads Ken Marshall and Lysette Anthony. Oddly, the second audio track is just a reading of an article that originally appeared in the November 1982 issue of Cinefantastique magazine. There's also a half-hour "making-of" featurette originally produced to promote the movie at the time, the usual trailer, stills gallery and three talent profiles. --Mark Walker
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