In this third instalment in the blockbusting series a notorious prisoner escapes from the prison for wizards, and young wizard Harry Potter is believed to be his target for death.
Woody Allen's gentlest and most unassuming movie, Radio Days isn't so much a story as a series of anecdotes loosely linked together by a voice-over spoken by the director. The film is strongly autobiographical in tone, presenting the memories of a young lad Joe (clearly a stand-in for Allen himself) growing up in a working-class Jewish family in the seafront Brooklyn suburb of Rockaway during the late 1930s and early 40s. In this pre-TV era the radio is ubiquitous, a constant accompaniment churning out quiz shows, soap operas, dance music, news flashes and Joe's favourite, the exploits of the Masked Avenger. Given Allen's well-publicised gallery of neuroses, you might expect childhood traumas. But no, everything here is rose-tinted and even the outbreak of war makes little impact on the easygoing, protective tenor of family life. Now and then Allen counterpoints his family album with the doings of the radio folk themselves (blink, and you'll miss a young William H Macy in the studio scene when the news of Pearl Harbour comes through). The rise to fame of Sally (Mia Farrow), a former night-club cigarette girl turned crooner, is the nearest the film comes to a coherent storyline. But most of the time Allen is content to coast on a flow of easy nostalgia, poking affectionate fun at the broadcasting conventions of the period and basking in the mildly rueful Jewish humour and small domestic crises of Joe's extended family. There aren't even any of his snappy one-liners, and the humour is kept low-key, raising at most an indulgent smile. A touch of Allen's usual acerbity wouldn't have come amiss. But for anyone who shares these memories, Radio Days will surely be a delight. On the DVD: Not much besides the theatrical trailer, scene menu and a choice of languages. The screen's the full original ratio, but nothing seems to have been done to enhance the soundtrack, and the dialogue's not always clear. A boost in volume may help.--Philip Kemp
Experience the extraordinary animation, dazzling special effects and award-winning music of Walt Disney's Mary Poppins in this restored and remastered 2-Disc 45th Anniversary Special Edition!
In Depression-era London, a now-grown Jane and Michael Banks, along with Michael's three children, are visited by the enigmatic Mary Poppins following a personal loss. Through her unique magical skills, and with the aid of her friend Jack, she helps the family rediscover the joy and wonder missing in their lives.
Prick Up Your Ears is a celebration of outrageous playwright Joe Orton (Gary Oldman) and his love affair with Kenneth Halliwell (Alfred Molina) which concluded with their violent and premature deaths. Orton was one of the 1960s golden boys from working class Leicester lad to national celebrity from sexual innocent to grinning satyr from penniless student to icon of Swinging London. He became a star by breaking the rules - sexual and theatrical. But while his plays including Loo
Mary Poppins: Stuffy parents in Victorian London are looking for a nanny, but the children write their own ad which is torn up and thrown into the fire. Miraculously, the paper reassembles and floats up the chimney flue, and along comes Mary Poppins (Julie Andrews) on her umbrella/parachute. She brings fun and magic to the children's lives, as well as a guiding hand. The film won Oscars for Best Actress, Best Film Editing, Best Original Score, Best Song and Best Visual Effects. Mary Poppins Returns: In Depression-era London, a now-grown Jane and Michael Banks, along with Michael's three children, are visited by the enigmatic Mary Poppins following a personal loss. Through her unique magical skills, and with the aid of her friend Jack, she helps the family rediscover the joy and wonder missing in their lives Bonus Features: Mary Poppins: Mary-Oke Sing-Along with the movie Mary Poppins from page to stage Re-Trailer DVD Bonus: Disney's Song Selection Re-trailer DVD Bonus: Audio Commentary Step In Time A Magical Musical Reunion Featuring Julie Andrews, Dick Van Dyke And Richard Sherman Deleted Song: Chimpanzoo Supercalifragilisticexpialidocious: The Making Of Mary Poppins The Gala World Premiere The Cat That Looked At A King From Mary Poppins Opens The Door By P.L. Travers Movie Magic Deconstruction Of A Scene: Jolly Holliday Deconstruction Of A Scene: Step In Time Dick Van Dyke Make-Up Test Publicity (8 Trailers*) A Musical Journey With Richard Sherman The Gala World Premiere Party Becoming Mr. Sherman Mary Poppins Returns:Play Movie with Sing-Along Mode The Practically Perfect Making of Mary Poppins Returns Seeing Things from a Different Point of View : The Musical Numbers of Mary Poppins Returns Back to Cherry Tree Lane: Dick Van Dyke Returns Practically Perfect Bloopers Deleted Scene: Leaving Topsy's Deleted Scene: Trip A Little Light Fantastic Deleted Song - The Anthropomorphic Zoo
Woody Allen's gentlest and most unassuming movie, Radio Days isn't so much a story as a series of anecdotes loosely linked together by a voice-over spoken by the director. The film is strongly autobiographical in tone, presenting the memories of a young lad Joe (clearly a stand-in for Allen himself) growing up in a working-class Jewish family in the seafront Brooklyn suburb of Rockaway during the late 1930s and early 40s. In this pre-TV era the radio is ubiquitous, a constant accompaniment churning out quiz shows, soap operas, dance music, news flashes and Joe's favourite, the exploits of the Masked Avenger. Given Allen's well-publicised gallery of neuroses, you might expect childhood traumas. But no, everything here is rose-tinted and even the outbreak of war makes little impact on the easygoing, protective tenor of family life. Now and then Allen counterpoints his family album with the doings of the radio folk themselves (blink, and you'll miss a young William H Macy in the studio scene when the news of Pearl Harbour comes through). The rise to fame of Sally (Mia Farrow), a former night-club cigarette girl turned crooner, is the nearest the film comes to a coherent storyline. But most of the time Allen is content to coast on a flow of easy nostalgia, poking affectionate fun at the broadcasting conventions of the period and basking in the mildly rueful Jewish humour and small domestic crises of Joe's extended family. There aren't even any of his snappy one-liners, and the humour is kept low-key, raising at most an indulgent smile. A touch of Allen's usual acerbity wouldn't have come amiss. But for anyone who shares these memories, Radio Days will surely be a delight. On the DVD: Not much besides the theatrical trailer, scene menu and a choice of languages. The screen's the full original ratio, but nothing seems to have been done to enhance the soundtrack, and the dialogue's not always clear. A boost in volume may help.--Philip Kemp
Coronation Street: Romanian Holiday
While living rough on the streets of London's East End, a young man, Dink (Milligan regular Berwick Kaler - Coronation Street, Red Riding), encounters the beautiful and mysterious Dee (Julie Shaw - The Big Switch). Concerned for Dink's welfare, she invites him to stay with her and get off the streets.The two soon develop a curious relationship which oscillates, often without warning, between sexual intimacy and raging jealousy. As tenderness gives way to cruelty, they become consumed by darkness and their relationship spirals out of control.
Based on John Lahr's biography of the same name and co-written by Alan Bennett, Prick Up Your Ears charts the 16-year relationship between the monstrously talented but deeply selfish playwright Joe Orton (Gary Oldman), author of West End farces such as Loot and What the Butler Saw, and his neurotic but nevertheless wronged lover and collaborator Kenneth Halliwell (Alfred Molina). Halliwell introduced Orton to art, literature and gay sex only to see his protégeacute; outstrip his mentor with innate and rampant talent for sexual conquest. By turns hilarious and excoriatingly painful, it's as much a tribute to an anti-hero of our times-Orton's ruthless frankness and anarchic mindset helped form the basis of what's called the "queer" sensibility today--as it is a portrait of the Swinging 60s just after the reform of anti-homosexuality laws irrevocably changed society. The modern-day framing device has Lahr (Wallace Shawn) researching his book through interviews with Peggy Ramsay (Vanessa Redgrave), Orton's agent and the diary he wrote, a nimble device which ends up drawing a provocative parallel between Orton and Halliwell's relationship and that of Lahr and his wife (Lindsay Duncan). Director Stephen Frears, fresh off the back of the also-gay-themed My Beautiful Laundrette, nimbly balances our sympathies for both the protagonists while the leads give what may in retrospect look like the standout performances of their careers: Oldman was never more feral and charming, while Molina, foppishingly fretting over his wig and decrying that his lover "even sleeps better than I do" is simply heartbreaking. --Leslie Felperin
There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P.L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim-Chim Cheree") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career--and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. --Jim Emerson
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