Broadcast between 1991 and 1997, The Brittas Empire is a sitcom set in Whitbury New Town Leisure Centre. It stars Chris Barrie as Gordon Brittas, the prattish, blazered manager who remains loudly oblivious to the fact that his high-handed efforts at running the place result in utter calamity. As his gin-supping, nervous wreck of a wife observes, he thinks he's the oil that lubricates the machine but in reality he's "a bag of grit". This first series introduces Brittas, whose arrival at the new Centre prompts a rash of resignations as his petty and pedantic managerial methods constantly rebound on him. Mishaps in these episodes include a malfunctioning set of automatic doors, a disastrous wedding in the pool and a lost baby. Somehow, however, Brittas' strange sense of idealism keeps him bobbing up as all others sink into despair. The Brittas Empire could either be seen as a satire on the new tier of superfluous middle-management types who flourished in Tory Britain, or a 90s update of the old stereotype of the bureaucratic buffoon. Compared to, say, Alan Partridge, Brittas seems a bit broad and one-dimensional, a sketch-show character stretched beyond its limits. The rest of the cast don't offer much in the way of resistance or support and Brittas very swiftly becomes very annoying. Despite all problems, however, The Brittas Empire was an immense success, attracting over eight-million viewers at its peak. On the DVD: The Brittas Empire include some perfunctory, text-only items, including a Chris Barrie biography and a Brittas Fitness Quiz, as well as a sketch performed at the Royal Variety Performance of 1996, in which Brittas reveals himself as an enthusiast for conformity with EEC regulations. --David Stubbs
Originally sold with the provocative tagline 'Is 15 too young for a girl? Is one wife enough for one man?', this time-capsule of a film concerns itself with the story of a young married man who has an affair with a teenage girl, and forms part of a peculiarly 1960s British wave of films exploring such sensitive subject matter (others included Term of Trial, Age of Consent, and Three into Two Won't Go).Starring Olivia Hussey, in her first post-Romeo and Juliet role, and the inimitable Tom Bell (The L-Shaped Room, Prime Suspect), this wonderful slice of British cultural history is one of only a handful of feature films directed by Gerry O'Hara, better know for his assistant-director work with such cinema giants as Tony Richardson, Carol Reed and Otto Preminger.
Based on J L Carr's novel two young soldiers fresh from the trauma of World War I meet in a tranquil Yorkshire village and form an unusual bond. Birkin has come to spend a month restoring a church mural whilst Moon who is still suffering nightmares from the horrors of war has come to excavate a forgotten chapel. Set against the background of an idyllic summer passion and forbidden love are uncovered as Birkin falls for the rector's beautiful wife and Moon has to face his own inner desires. As the men become drawn into their work they find reassurance and escape from their experiences and can begin a personal journey to recovery.
Ralph Gorse a charmer in every sense of the word is handsome suave and stylish. It soon becomes clear however that there is a much darker side to his character: that of a conman seducer and murderer. Whilst staying in Reading he seduces Joan Plumleigh-Bruce much to the disgust of her friend Mr Stimpson and succeeds in swindling a great deal of money from her. Running off to Brighton with the money he soon wastes it all and has to get his old job back working in a car showroom. The owner's daughter Pamela falls for him and on discovering she is pregnant Gorse is forced to marry. After an insurance scam goes terribly wrong Gorse flits again to try and start a new life with a false identity. With Mr Stimpson catching up with him will Gorse succeed or will he finally get his comeuppance?
Returning to the sketch-show format of their earlier days, Monty Python' s The Meaning of Life was always going to feel less ambitious and less coherent than their cinematic masterpiece, The Life of Brian. And inevitably given the format, some sketches are better than others. But, for a movie that has been much-maligned, The Meaning of Life actually features some of the Pythons' most memorable set-pieces: the exploding Mr Creosote has to be the most wonderfully grotesque creation of a team whose speciality was the grotesque; while the sublime "Sperm Song" mixes satire and lavish visual humour in a musical skit of breathtaking audacity. Elsewhere, Eric Idle produces another musical gem with "The Universe Song" ("Pray that there's intelligent life somewhere out in space / 'Cause there's bugger all down here on earth!"), while the Grim Reaper's appearance at an achingly tedious dinner party is the Pythons doing what they do best: mocking their own middle-class origins. Best of all, perhaps, is Terry Gilliam's modest introductory feature, "The Crimson Permanent Assurance", a 20-minute epic tale of the little men rebelling against the corporate system, a theme and a visual style that foreshadows his own masterwork, Brazil. Admittedly too many sketches sacrifice subtlety for shock tactics (the organ donation scene in particular requires a strong stomach), but when this film works it's nothing less than vintage Python. --Mark Walker
We click our heels in anticipation. There's no place like home and no movie like this one. From generation to generation The Wizard of Oz brings us together - kids grown-ups families friends. The dazzling land of Oz a dream-come-true world of enchanted forests dancing scarecrows and singing lions wraps us in its magic with one great song-filled adventure after another. Based on L. Frank Baum's treasured book series The Wizard of Oz was judged the best family film of all time by the American Film Institute.
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
A suspenseful tale of murder and wrongful accusation The Last Chance features leading roles for Australian-born actors Frank Leighton and Judy Kelly with typically polished performances from stage and screen star Billy Milton and veteran character player Laurence Hanray. The film is presented here in a brand-new digital transfer from original film elements in its as-exhibited theatrical aspect ratio. Alan Burmister leaves Devon on a secret gun-running expedition immediately after his engagement to Mary Perrin is announced; he returns at Christmas to find himself accused of the murder of Ivor Connel a moneylender. Mary's father had always hoped that his daughter would marry John Worrall a rising barrister. Worrall is briefed for the defence but when he loses the case and Alan is condemned to penal servitude for life no one but the judge realises that he has not made use of the best piece of defence evidence...
The ongoing saga of investigative schoolteachers Trevor Chaplin and Jill Swinburne continues in this four part series....
It's more than just a game... It's called a ouija board and it has been used for thousands of years to communicate with the souls of the afterworld. For beautiful Linda Brewster (Kitaen) it summons the playful ghost of a dead ten year old boy. But when the friendly spirit develops a sudden taste for violent murder and demonic possession Linda's bofriend (allen) and her former lover (Nichols) must race against time to destroy this ferocious portal of the damned...
Verena Steynton (Judy Parfitt) is holding a party for her daughter. All the aristocratic families of Strathcroy in the Scottish Highlands are attending with all their guilty secrets. Lord Archie Balmerino (Edward Fox) a crippled war veteran and his long suffering wife will be there. Edmund Aird (Michael York) a wealthy entrepreneur and his beautiful American wife have been invited. And Pandora (Jacqueline Bisset) Archie's exotic and mysterious sister who disappeared from the village twenty years ago is returning under a cloud of suspicion. Only Edmund and her brother know the secret of her flight from home. But the rumours are flying and the local families feel that Pandora's return can only bring bad luck. When a lifeless body is found in the loch the tension rises. Why has Pandora come back after so long? What are her motives? And has her return already had deadly consequences?
17 chapters with great songs from Judy Garland Frank Sinatra and Dean Martin
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 storylines 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 Whately'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 said he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
Dorothy found the rainbow; Judy spent her life looking for it. 'Life With Judy' follows the amazing life story of American icon Judy Garland. Based on New York Times best seller from daughter Lorna Luft 'Life With Judy' is a deeply moving testament to the healing powers of embracing one's past facing one's demons and charting a course of self-love and discovery.
The House of Eliott is the smartest, most prestigious couture house in London, and the sisters who run it are kept busy juggling their working lives with the pressures of finance, staff and the competition, along with their complex private lives.As the Roaring Twenties draw to a close, the sisters return from a triumphant visit to America and discover the market for haute couture is dwindling. The House of Eliott must accept that ready-to-wear is fashion's future. This means changes to the business and The Aurora Collection is born.The collection, however, is fraught with setbacks; the sisters disagree, the staff betray them, their designs are plagiarised and scurrilous reports appear in the newspapers claiming they run a sweatshop. Jack's campaign for Parliament turns ugly and the House of Eliott's name, again, is dragged down - but could they rise above it all? The answer can be found in the final ten powerful and irresistible episodes.
Follow wide-eyed Dorothy (Judy Garland)and her ragtag friends Scarecrow, Tin Man and the Cowardly Lion as they head down the Yellow Brick Road in search of Emerald City and the all-powerful Wizard of Oz. Shot partly in black and white, partly in Technicolor, THE WIZARD OF OZ is a perfect juxtaposition of reality and fantasy.
Gordon Brittas goes from strength to strength. Despite his failed endeavour and despite the endeavours of both his staff and his wife to depose him Whitbury Leisure Centre continues to thrive. Brittas continues to dream up new schemes to promote and improve the centre including a bungee jump sequential staff reviews and computerisation - all with the usual Brittas diplomacy aplomb and mayhem. Julie heavily pregnant embraces the bungee jump whereas Tim tries everything he ca
Directed by Eugenio Martin in 1973 this Spanish chiller stars Esperanza Roy and Aurora Bautista as two sisters running a hotel in remote Spain Roy's character of Veronica being the meek one who is under the control of Bautista's dominant Marta. Their fanatical religious ideas and isolation leads to madness and mania and when bad girls who displease them stay at the hotel they are punished in the most gruesome manner. When good girl Laura played by Judy Geeson stays she only just manages to escape with her life but Marta is not ready to let her go so easy.
For years The Specials have been the also-rans of superheroes getting whatever missions the better groups are too busy to take. As the 6th or 7th best superhero team in the world The Specials are stuck with too much time on their hands. They have turned their energies inward engaging in petty infighting intra-group love affairs financial squabbles and misguided attempts to better their image. But now that's all about to change. With The Strobe (Thomas Haden Church) The Weevil (Rob Lowe) and Amok (Jamie Kennedy) leading the way The Specials are on the threshold of greatness. The equivalent of winning the Oscar for super-heroes The Specials have inked a deal with the toy conglomerate KOSGRO TOYS to produce a line of action figures.
Shakespeare In Love (Dir. John Madden) (1998): When Will Shakespeare (Joseph Fiennes) needs passionate inspiration to break a bad case of writer's block a secret romance with the beautiful Lady Viola (Paltrow) starts the words flowing like never before! There are just two things he'll have to learn about his new love: not only is she promised to marry someone else she's successfully impersonating a man in order to play the lead in Will's latest production! Marie Antoinette (Dir. Sofia Coppola) (2006): A decadently imaginative interpretation of the life of France's iconic teenage queen Marie Antoinette from her betrothal and marriage to Louis XVI aged 15 to her reign as queen at 19 and to the termination of her royal tenure and ultimately the fall of Versailles in the French Revolution... Vanity Fair (Dir. Mira Nair 2004): Becky Sharp (Reese Witherspoon) is a poor but well educated girl born into a 19th-century society offering little in the way of career advancement for women. She becomes a governess for Sir Pitt Crawley (Bob Hoskins) and aims to find a rich husband.
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