Eddie Murphy takes on a plethora of roles in this hit comedy, as Professor Sherman Klump finds his life once again being taken over by his suave alter ego Buddy Love.
A TAUT, TWISTING AND DEEPLY SATISFYING EIGHT-PART DRAMA University lecturer Jonah Mulray's world is turned upside down when his wife Megan, a high-ranking international development worker, is killed in a car accident on a mountain road outside Hong Kong. Overcoming his fear of flying, Jonah jets out from London to identify the body. Alone in an unsettling alien environment, given the run-around by overworked and underpaid local cops and haphazardly assisted by the British Consulate, Jonah discovers that the accident is not all it seems. Megan had been living a dangerous double life that left her exposed to sinister business interests. A web of conspiracy deepens as the evidence points to murder. A taut, twisting and deeply satisfying eight-part drama from Two Brothers Pictures, the rising indie established by award-winning writers and producers Harry and Jack Williams (The Missing, Fleabag, One of Us). Strangers is a character-driven emotional thriller - there are elements of Lost In Translation coupled with The Descendants, underpinned by a propulsive hook-laden serial narrative. Our setting is the neon-suffused hyper-modern island of Hong Kong, a place in constant motion, and the perfect metaphor for the series. Includes subtitles for the Hard Of Hearing
Available for the first time on DVD! A New York limo driver wins a competition to become coach of the New York Knicks...
Paul Verhoeven was almost unknown in Hollywood prior to the release of RoboCop in 1987. But after this ultra-violent yet strangely subversive and satirical sci-fi picture became a huge hit his reputation for extravagant and excessive, yet superbly well-crafted filmmaking was assured. Controversial as ever, Verhoeven saw the blue-collar cop (Peter Weller) who is transformed into an invincible cyborg as "an American Jesus with a gun", and so the film dabbles with death and resurrection imagery as well as mercilessly satirising Reagan-era America. No targets escape Verhoeven's unflinching camera eye, from yuppie excess and corporate backstabbing to rampant consumerism and vacuous media personalities. As with his later sci-fi satire Starship Troopers the extremely bloody violence resolutely remains on the same level as a Tom and Jerry cartoon. The inevitable sequel, competently directed by Irvin Kershner, thankfully continues to mine the dark vein of anti-consumerist satire while being reflexively aware that it is itself a shining example of that which it is lampooning. Sadly the third instalment in the series, now without Peter Weller in the title role, is exactly the kind of dumbed-down production-line flick that the corporate suits of OCP might have dreamed up at a marketing meeting. Its only virtue is a decent music score from regular Verhoeven collaborator Basil Poledouris, whose splendid march theme returned from the original score. On the DVD: Packaged in a fold-out slipcase these three discs make a very collectable set. All are presented in 1.85:1 anamorphic prints, although only the first movie has any extra material worth mentioning. Here the Director's Cut option allows the viewer to see Paul Verhoeven's more explicitly violent versions of Murphy's "assassination", ED-209's bloody malfunction and the shootout finale. These extended sequences are handily signposted in the scene selection menu, and the filming of them can be seen in a sequence of Director's Cut footage. Deleted scenes include "Topless Pizza" ("I'll buy that for a dollar!") and there are two contemporary "making of" featurettes plus a good, new half-hour retrospective. Both the latter and the director's commentary make abundantly clear the Reagan-era satire and are chock full of quotable lines from Verhoeven--"I wanted to show Satan killing Jesus"--and his producer--"Fascism for liberals". Stop-motion animator Phil Tippett gives a commentary on the storyboard-to-film comparisons, and there are the usual trailers and photos. Showing just how much the sequels are rated in comparison, the second and third discs have nothing but theatrical trailers and their sound is just Dolby 2.0 whereas the original movie has been remastered into Dolby 5.1.--Mark Walker
Unforgiven is the story of Ruth Slater (Suranne Jones) a woman released from prison on license after serving 15 years for the murder of two policemen. Ruth has spent half of her life imprisoned and now faces the daunting prospect of rebuilding her life whilst being irresistibly drawn to the place that haunts her Upper Hanging Stones Farm. In spite of trying to focus on the future and her new boyfriend Brad (Will Mellor) Ruth is unable to forget her past and the sister Katie who she was forced to leave behind. Outraged to hear that the woman who killed their father has been released Kieran (Jack Deam) and Steve Whelan (Matthew McNulty) are eager to seek revenge. Believing that life should mean life the two brothers decide to take the law into their own hands. But just how far are they capable of going? Can they really do to her what she did to their father? As the details about Ruth's past become known maintaining a job friendship and a relationship become increasingly arduous. Ruth soon realises that the ramifications of her release spread further than she could have imagined with far reaching implications for everyone involved. Unforgiven also stars Peter Davison and Siobhan Finneran as John and Izzie Ingram who now live at Upper Hanging Stones Farm; Faye McKeever as Steve's wife Hannah and Douglas Hodge and Jemma Redgrave as Michael and Rachel Belcombe the adoptive parents of Emily (Flora Spencer-Longhurst) and Ruth's sister Katie who they have renamed Lucy (Emily Beecham).
Mike Figgis' Internal Affairs makes great play with some fairly obvious ironies--"Trust me, I'm a cop", Richard Gere says to a couple for whom he is arranging the death of their parents--but its real strength lies in a cluster of central performances. Gere has rarely been better than he is as the charismatic, self-righteous entirely corrupt and corrupting Dennis Peck, but Andy Garcia is at least as impressive as the "selfish yuppy bastard", the ambitious Internal Affairs cop Avila whose determination to bring Peck down is as much to do with massaging his own ego as with fighting the good fight, particularly after Peck starts making moves on Avila's gallery curator wife. This is a film about men destructively manipulating each other's self-love--the two men have more in common than they like to admit, a point sardonically made by Amy, the world-weary lesbian cop who is Avila's partner (an impressive performance by Figgis regular Laurie Metcalfe). Internal Affairs was the best thriller of 1990 and one of the decade's best. --Roz Kaveney
The few remaining residents of a Canadian sorority house are celebrating the onset of Christmas vacation when a thirteen year-old girl is found dead in the park. Soon it is discovered that one of the sorority sisters is missing which triggers a terrifying chain of murders within the house... Director Bob Clark's tense effective film is a precursor to the 'slasher' films Friday 13th and Halloween that would come a half decade later.
After Elvis Presley got out of the army in 1960, he was instantly ushered into G.I. Blues, a Paramount movie about an Oklahoma singer who (surprise) gets out of the army and wants to open a club. Making a potentially lucrative bet that he can seduce a cabaret singer (Juliet Prowse), Elvis instead falls in love. Leaving behind his rockabilly roots for a slicker image better suited to early 60s pop, the Elvis of this movie is the one who made almost 30 more just like it. The songs include "G.I. Blues", "It's Not Good Enough for You," "Tonight Is So Right for Love" and "Wooden Heart". It's directed by Norman Taurog, a studio veteran who made his first film in 1928 and worked many times with Presley. --Tom Keogh
When Terms of Endearment was released in 1983, director and writer James L Brooks was lauded for his depiction of a complex mother/daughter relationship. For his leading ladies he chose actresses with two of the strongest personalities in Hollywood, but armed with an exceptionally witty script and endless patience he eventually drew magnificent performances from Shirley Maclaine as Aurora and Debra Winger as her daugher Emma, assisted considerably by Jack Nicholson's considerate professionalism. As the philandering retired astronaut who beds Maclaine and then provides her with surprising support in the film's dark later moments, Nicholson shines with comic brilliance which earned him an Oscar. It was no secret that Maclaine and Winger could barely contain a mutual antipathy on set. Yet they strike sparks off each other on screen. When comedy turns to tragedy with the development of Emma's cancer, the laughs continue even while the tear ducts are being given a good work out. In the glory days of Hollywood, this would have been acknowledged a great "women's picture" and its weepy credentials are impeccable. It stands out as a warm, accessible work that admirably rejects sugary sentiment in favour of the realistic rough edges that characterise most human relationships. On the DVD: Presented in 1.78:1 anamorphic widescreen with a Dolby Digital 5.1 soundtrack, this DVD is ideal for home cinema viewing. The picture and sound quality are fine, benefiting Michael Gore's gentle, memorable music and bringing the best out of Andrzej Bartkowiak's luminous photography. In addition to the original theatrical trailer, the major extra is the director's commentary in which James L Brooks reminisces with coproducer Penney Finkelman and production designer Polly Platt. They look back at their impressive work with a touching degree of wonder and apprentice directors should take note when Brooks recalls his steep learning curve in managing his leading ladies. --Piers Ford
The Village is an epic drama series for BBC One starring Maxine Peake and John Simm charting the life and turbulent times of one English village across the whole of the 20th century written by Bafta-winning writer Peter Moffat. The Village charts the life and turbulent times on one English village throughout the twentieth century with the life and memories of one man Bert Middleton providing the backbone to the story as he lives across the entire hundred years. From boyhood to extreme old age Bert witnesses births and deaths love and betrayal and the great political events and social upheaval that shaped and made Britain and his village what it is today.
IN WHITEWOOD, TIME STANDS STILL Christopher Lee was already a horror icon when he started filming The City of the Dead in 1959. Having played Frankenstein's Monster, Count Dracula and The Mummy for Hammer, this new picture would allow him to extend his range to the American Gothic and witchcraft in a small New England village Lee plays Professor Driscoll, an authority on the occult who persuades one of his students (Venetia Stevenson) to research his hometown, Whitewood, once the site of witch burnings in the 17th century. Booking herself into the Raven's Inn, she soon learns that devil worship among the locals hasn't been consigned to the past. Produced by future Amicus founders Milton Subotsky and Max Rosenberg, and beautifully shot by Desmond Dickinson (whose credits ranged from Laurence Olivier's Hamlet to Horrors of the Black Museum), The City of the Dead is a wonderfully atmospheric and still shocking slice of horror that stands firmly alongside with its Hammer contemporaries. SPECIAL EDITION CONTENTS: New 4K digital restoration by the Cohen Film Collection and the BFI High Definition Blu-ray (1080p) and Standard Definition DVD presentations of two versions of the film: The City of the Dead and the alternative US cut, Horror Hotel Uncompressed Mono 1.0 PCM Audio Optional English subtitles for the deaf and hard of hearing Audio commentary by film critic Jonathan Rigby, author of English Gothic: Classic Horror Cinema 1897-2015 and Christopher Lee: An Authorised Screen History, recorded exclusively for this release Trailer Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys MORE TO BE ANNOUNCED! FIRST PRESSING ONLY: Illustrated collector's booklet featuring new writing by Vic Pratt
Collection of action films starring martial artist and actor Bruce Lee. In 'The Big Boss' (1971) Lee stars as immigrant worker Cheng Chao-an who takes a job with his cousins in an ice factory and discovers all manner of suspicious activities. When he begins to investigate a series of disappearances - the latest of which has seen his own cousin go missing - he can't help but display his formidable martial arts skills. Taking on one opponent after another, Cheng will not stop until he has fought his way to the truth and the inevitable confrontation with the man known only as The Big Boss (Han Ying Chieh). In 'Fist of Fury' (1972) Lee stars as martial arts student Chen Zhen whose mentor dies in suspicious circumstances. Whilst he is mourning his old friend, members of a rival school arrive and taunt Chen and his friends, who do not react at first. Chen later humiliates his adversaries by beating every single one of them, but this causes bloody repercussions and begins to uncover the real reasons behind his master's death. In 'The Way of the Dragon' (1973) Lee stars as martial arts expert Tang Lung who travels to Rome to protect a family friend's restaurant from a powerful Mafia man. A violent altercation between Tang and the mobster's heavies persuades the gang boss to call for reinforcements, an American martial arts assassin (Chuck Norris), who challenges Tang to a fight to the death within the walls of the Colosseum. In 'Enter the Dragon' (1973) Lee plays the role of a secret agent who is sent to infiltrate a martial arts tournament presided over by a one-handed supervillain. His mission: to destroy the villain's opium-smuggling racket. Finally, in 'Game of Death' (1978) a successful martial artist who refuses to join a crime syndicate has a contract to kill put out with his name on it. The assassination attempt fails but his death is broadcast to the world to throw the criminals off his trail. Unfortunately, the hoods do not believe the stories and make him face a series of adversaries in one-to-one fights to save the life of his girlfriend (Colleen Camp).
For its fourth season, Cheers served up a new bartender. Following the death of Nicholas Colasanto, who had played Coach, the season premiere introduced Woody Boyd (Woody Harrelson), the Indiana hick who certainly didn't raise the bar's collective IQ but had his own brand of endearing goofiness. That episode, "Birth, Death, Love and Rice", also explained what happened at the end of season 3 when Sam (Ted Danson) chased Diane (Shelley Long) and Frasier (Kesley Grammer) to Italy in hopes of preventing their marriage. The end result is that Diane returns to work at the bar and resumes her sexually charged flirtation with Sam, and Frasier becomes a brooding presence always looking for a way to win her back. Jennifer Tilly guest-stars as one of Sam's ex-girlfriends who actually hits it off with the petulant psychiatrist, but stealing the show in the same episode ("Second Time Around") was Dr. Lilith Sternin (Bebe Neuwirth), in what was supposed to be a five-minute one-shot role. The impossibly buttoned-up Sternin was such a perfect match for Frasier that she later became a regular cast member and won two Emmys. In other memorable episodes, Andy Andy (Derek McGrath) returns to terrorize Diane ("Diane's Nightmare"), the gang tries to turn the tables on Gary's Old Town Tavern in a bowling match ("From Beer to Eternity"), and Frasier sets up a night at the opera ("Diane Chambers Day"). In the three-part season finale ("Strange Bedfellows"), Sam begins dating a politician (Kate Mulgrew, later of Star Trek: Voyager) running for reelection. Diane decides to work for her opponent before taking a more drastic step, leading to Sam's memorable telephone call that served as a cliffhanger leading to season 5. Unlike previous seasons, the DVD set has no extras. --David Horiuchi
When a double homicide happens in a Florida community, the chief of police finds himself in a race against time to solve the murders before he himself falls under suspicion in this modern noir thriller.
From Richard Adams' best seller comes a beautifully realized animated adventure about a nomadic band of rabbits. Nestled among the rolling hills and peaceful meadows of England lives a community of rabbits. When their warren is threatened a small group of brave rabbits escapes into the unknown countryside in search of a new home. Led by the visionary Fiver the courageous Bigwig the clever Blackberry and the honerable Hazel they face daunting challenges and use their strength and
Attack the Block is a fast, funny, frightening action adventure movie that pits a teen gang against an invasion of savage alien monsters.
To Catch a Thief is not one of Alfred Hitchcock's greatest, but it's arguably his most stylish thriller, loved as much for the elegantly erotic banter between Grace Kelly and Cary Grant as for the suspense that ensues when retired burglar Grant attempts to net the copycat diamond thief. The action, much of it shot on location, hugs the coast of the French Riviera; John Michael Hayes' screenplay crackles with doubles entendres; and Edith Head's dresses define the aloof poise of one of cinema's more enigmatic icons. If anything is missing, it's the undertow of black humour which snags the unsuspecting viewer in so many of Hitchcock's greater films. Here, the edge is supplied by the splendid Jessie Royce Landis as Kelly's vulgar, worldly mother; her special way with a fried egg is one of those cinematic moments which linger in the mind with almost pornographic disgust. History, of course, delivered its own ironic blow years later when the then Princess Grace of Monaco died in an accident on the very road where Kelly and Grant shot their exhilarating car chase. Portents aside, she remains Hitchcock's most alluring and sophisticated heroine. On the DVD: To Catch a Thief is presented in 1.85:1 anamorphic widescreen, which distils the distinctive qualities of the VistaVision cinematography, and with a mono Dolby Digital 5.1 soundtrack. Interesting extras include several mini-documentaries in which Hitchcock's daughter and granddaughter, among others, reminisce about the great director, censor problems over the risqué dialogue, the talents of costume designer Edith Head, and the peculiar difficulties of shooting in VistaVision. An original theatrical trailer is another bonus. --Piers Ford
A year after proving that she can handle a murder enquiry as well as any man D.C.I. Tennison is launched back into battle at Scotland Yard. The body of a young girl is discovered in a shallow grave in the back garden of a terraced house in an Afro-Carribean neighbourhood of London. The difficult job of identifying the body and finding the murderer is only made worse when the controversial subject of racism rears its ugly head. Having to contend with prejudice and misunderstanding from both the locals and from within her own team and dealing with a boss who has one eye on his own promotion D.C.I. Tennison has to use her powers of ingenuity courage and compassion as she faces the political disapproval of the public and her colleagues.
These pellets contain heroin. Each weighs 10 grams. Each is 4.2 cm long and 1.4 cm wide. And they're on their way to New York in the stomach of a 17-year-old girl.
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
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