Pitch Black Owing a major debt to Alien and its cinematic spawn, Pitch Black is a guilty pleasure that surpasses expectations. As he did with The Arrival, director David Twohy revitalizes a derivative story, allowing you to forgive its flaws and submit to its visceral thrills. Under casual scrutiny, the plot's logic crumbles like a stale cookie, but it's definitely fun while it lasts. A spaceship crashes on a desert planet scorched under three suns. The mostly doomed survivors include a resourceful captain (Radha Mitchell), a drug-addled cop (Cole Hauser), and a deadly prisoner (Vin Diesel) who quickly escapes. These clashing personalities discover that the planet is plunging into the darkness of an extended eclipse, and it's populated by hordes of ravenous, razor-fanged beasties that only come out at night. The body count rises, and Pitch Black settles into familiar sci-fi territory. What sets the movie apart is Twohy's developing visual style, suggesting that this veteran of B-movie schlock may advance to the big leagues. Like the makers of The Blair Witch Project, Twohy understands the frightening power of suggestion; his hungry monsters are better heard than seen (although once seen, they're chillingly effective), and Pitch Black gets full value from moments of genuine panic. Best of all, Twohy's got a well-matched cast, with Mitchell (so memorable with Ally Sheedy in High Art) and Diesel (Pvt. Caparzo from Saving Private Ryan) being the standouts. The latter makes the most of his muscle-man role, and his character's development is one more reason this movie works better than it should. --Jeff Shannon Dark Fury Taking a page from The Animatrix, Dark Fury is part of a new trend of bridging theatrical sequels. As an official product of a franchise, the 35-minute anime benefits from having the original actors voice the characters, including Vin Diesel as Riddick. This story opens with the new action hero and the two other survivors of Pitch Black already caught by a giant spaceship filled with dread. The sinewy leader has a unique--and creepy--jail for master villains and she has her sights set on Riddick. The film--indeed the series--is indebted to animator Peter Chung, who brings his techno style from his Aeon Flux series. His smooth animation for Riddick doesn't reinvent the character as much as give him a new, appealing fluidity. As anime goes, there's nothing really new here--plenty of action, cool killers, and dramatic spurts of blood--but it's a building block for how this genre might enliven movie series and sequels in the future. --Doug Thomas The Chronicles of Riddick Bigger isn't always better, but for anyone who enjoyed Pitch Black, a nominal sequel like The Chronicles of Riddick should prove adequately entertaining. Writer-director David Twohy returns with expansive sets, detailed costumes, an army of CGI effects artists, and the star he helped launch--Vin Diesel--bearing his franchise burden quite nicely as he reprises his title role. The Furian renegade Riddick has another bounty on his head, but when he escapes from his mercenary captors, he's plunged into an epic-scale war waged by the Necromongers. A fascist master race led by Lord Marshal (Colm Feore), they're determined to conquer all enemies in their quest for the Underverse, the appeal of which is largely unexplained (since Twohy is presumably reserving details for subsequent "chronicles"). With tissue-thin plotting, scant character development, and skimpy roles that waste the talents of Thandie Newton (as a Necromonger conspirator) and Judi Dench (as a wispy "Elemental" priestess), Twohy's back in the B-movie territory he started in (with The Arrival), brought to vivid life on a vast digital landscape with the conceptual allure of a lavish graphic novel. But does Riddick have leadership skills on his resumé? To get an answer to that question, sci-fi fans will welcome another sequel. --Jeff Shannon
Featuring episodes 1-3.
From the books of Peter Tinniswood comes one of television's greatest comedy families The Brandons. There's miserable pessimist Uncle Mort his sharp-tongued sister Annie who is constantly arguing with husband Les their laid-back son Carter and his not so laid-back fianc Pat and finally old Uncle Stavely who carries his friend's ashes around his neck in a box and only enters the constant bickering with a cry of ""I 'eard that! Pardon?"" Episodes comprise: 1. The Love Match 2. Love Is A Many Splendoured Thing 3. A Tip Top Day 4. Don't Answer That 5. The Great Escape 6. What's In A Name? 7. The Great Day
The classic television series which tells the powerful story of the Ashton family during the Second World War. Living in Liverpool during the Second World War they struggle to deal with the harsh realities of life as their sons are sent abroad to fight children are evacuated and those who remain at home live in constant fear - either of the War Office telegram or the Luftwaffe.
A beautiful and mysterious woman comes into a miss-if-blink Nevada town with a secret that threatens the status quo of the tightly knit group of women who run the town Monday through to Friday. Their men work at a dam a few hours away and can only return on the weekends for rowdy fun and raucous love. Her beauty and demeanour make Christy the obvious scapegoat for several of the women's frustrations and loneliness. Several others see her as a beacon of hope in an otherwise downtrodden existence. The ensuing conflicts sends their normally placid lives into a state of chaos. 'Nevada' is an insightful and witty exploration of the choices women must make in their lives as mothers lovers wives and as individuals.
UFC 96: Jackson vs Jardine (2 Discs)
The Monster A supernatural spooky tale... Hands Of The Ripper The infant daughter of Jack the Ripper is witness to the brutal murder of her mother by her father's hand. Later as a troubled young woman she is seemingly possessed by the spirit of her father and while in a trance she continues his murderous killing spree but has no recollection of the events afterwards. A sympathetic psychiatrist takes her in and is convinced he can cure her condition. Soon however he regrets his decision... The Uncanny Wilbur Gray (Cushing) a horror writer has stumbled upon a terrible secret. Spinning three tales of terror he desperately attempts to convince others that not all cats are friendly house-trained felines...
Suitable for 2-6 year olds. The series is based around the central characters of Koala Brothers Frank and Buster Ned the little wombat and Mitzi the feisty little possum and is set in the middle of the Australian outback. Flying out on daily patrol in their yellow plane the Koala Brothers are always on the look out for anyone in need of help and in the outback it's never too long before someone needs a little help even if that someone doesn't know it yet!
One of the highest rated sitcoms of the 1970s attracting 16 million viewers at the peak of its popularity Love Thy Neighbour explores the culture clash between black and white neighbours Bill Reynolds (Rudolph Walker) and Eddie Booth (Jack Smethurst). This release features episodes one and two of Series One.
Hot on the heels of her acclaimed success in The Good Life, Penelope Keith undertook a role that would further confirm her place as one of Britain’s leading comic actors: the role of Audrey fforbes-Hamilton in To The Manor Born. Series Two, first broadcast in 1980, finds the war of words, wits and witticisms escalating as successful businessman Richard De Vere continues to attempt to bring his expertise to the running of Grantleigh Manor, often in direct opposition to the wishes of its previous owner. 'Rationalising' the estate, and ploughing new fields are just two of Richard’s plans, when he’s not sniffing out poachers and disappearing vases as well as playing host to a friend of Marjory’s who once went by the name of ‘Podge’. But the cold frost between them may yet be melting as familiarity begins to breed the opposite of contempt.
A pre-code film that sneaked onto screens just as the censorious Hays Office began cracking down on Hollywood's racier propositions, Cleopatra is a libertine paean to decadence and depravity that can still send a viewer's mind reeling and pulse thumping - all courtesy of the Golden Age's swampiest psychosexual auteur, Cecil B. DeMille (The Ten Commandments; The Greatest Show on Earth; The King of Kings).Claudette Colbert (It Happened One Night; The Palm Beach Story; Drums Along the Mohawk) presides over the most outrageous spectacle this side of The Scarlet Empress as the eponymous pharaoh queen who speeds from Julius Caesar (Warren William) to Marc Antony (Henry Wilcoxon), from Egypt to Rome, from war-room to bedroom... The whiff of incense permeates every scene, with each connected to the next in a veritable matrix of whips, blindfolds, and bindings - the crazed arrangement laying bare all the fetish inklings of the moving-picture dream.Lavishly produced with some of the most inspired waxing-moon photography and unwholesome set-design to come out of the studio system, DeMille's film is an erotic tour-de-force that obliges us to re-examine the appeal of this most popular of Hollywood directors. The Masters of Cinema Series is proud to present Cleopatra on DVD.
A feel-good British comedy in a similar vein to The Full Monty and Bend it like Beckham with a nod to Slumdog Millionaire, released on DVD 13th May 2013 The Cowboys are a local Sunday soccer team who always seem to finish bottom of the league. Now, they've finally run out of money and after losing yet another match they do what they always do to drown their sorrows - go to the pub and head off for an Indian. Barred from every Indian restaurant in town due to their bad behaviour, there's only the Taj Tandoori left to go for the Cowboys last team meal. When it comes to paying the bill the realization of not having enough money finally hits home but instead of calling the Police the owner offers the Cowboys a sponsorship deal they just can't refuse. Financing the team to keep it going the Cowboys in exchange must work as waiters in his restaurant, rename the team the Taj Cowboys and sport a ridiculous new football strip. Unknown to the Cowboys the restaurateur is really using them as security against a local racketeer run by a psychotic gangster known only as American Bob (Robert Vaughn). Reasoning with American Bob only leads to more misery and destruction but when the chips are down the Cowboys and the Indians form the most unlikely of alliances as they take on American Bob and his mighty bandits head on. Together they'll prove that... Eleven united can never be defeated. Special Features: Trailer Commentary with Director Jeremy Wooding and Producer John Adams Four Behind-The-Scenes Featurettes.
A deadly car accident brings together a group of previously unrelated people each of whom is forced to deal with the emotional fallout.
Joe 90 was Gerry Anderson's penultimate puppet show of the 1960s, following Captain Scarlet (1968) and preceding the little-known The Secret Service (1969). In 2112 professor Ian McClaine has invented the BIG RAT (Brain Impulse Galvanoscope, Record And Transfer), a machine for copying knowledge and experiences from person to person. WIN (World Intelligence Organisation) uses this to prime their top undercover agent before sending him into the field on missions which range from foiling international terrorists to recovering a nuclear weapon from beneath the polar ice. So far so good, but in perhaps the most mind-boggling concept ever to reach children's TV, that agent is McClaine's nine-year-old adopted son, Joe. Somehow even as it stays true to the Gerry Anderson techno-fantasy formula of secret organisations, gadgetry, and action-packed adventure full of spectacular explosions and violent death, Joe 90 remains blithely unconscious of its own implications. The missions are as globe-trotting as anything in Anderson's classic Thunderbirds series, and sometimes Joe does save lives, performing a risky brain operation or rescuing trapped astronauts. Yet even then his criminally irresponsible father brainwashes the lad each episode before placing him in a highly dangerous adult situation. Though the production values remain way ahead of anything else being done on British TV at the time, the question remains how did this ever seem like a good idea? On the DVD: Joe 90, Volume 1 contains the first six 25-minute episodes presented, as usual with Gerry Anderson DVDs, behind a lovingly crafted menu. As expected the 4:3 picture quality is superb and the mono sound is full, detailed and without a trace of distortion. There are also several pages of character biography and background information on the show, a photo gallery and a variety of other extras. --Gary S Dalkin
George Romero's classic 1968 zombie-fest Night of the Living Dead (shot in black and white) offers some disturbing images, even decades later. In a Pittsburgh suburb people are being stalked by zombies ravenous for human flesh. In a house whose occupant has already been slain, two separate groups of people unite and board themselves in, hoping to fend off the advancing ghouls. Through radio and TV reports they learn that radiation from outer space is thought to be responsible for the wave of zombie attacks all over the eastern United States. Once the humans are trapped, Romero shifts the focus to the internal feuding between them as they decide how to handle their dreadful situation. What unfolds is an examination of human nature, and of the fear and selfishness that keep many citizens from getting involved in the world's problems. Appropriately, both the zombies, and the authorities who later hunt them, are equally soulless. This film could also be read as a criticism of white males--it is not merely a coincidence that the film's two most rational, constructive characters are a woman and a black man. It is also no coincidence that the sequel Dawn of the Dead (1978) takes place in a mall infested by the undead--a perfect analogy for consumer culture. --Bryan Reeseman, Amazon.com
In the deadly calm of the aftermath the sudden and unexpected arrival of the Fifth Child hits like a hurricane leaving Shinji at the eye of a whirlwind of activity as he finds a kindred soul in the unearthly Nagisa Kaoru. However does Kaoru really have a soul at all? Where Angels fear to tread Shinji must go alone... Prepare for the shocking conclusion to the most controversial animated series ever produced: it is the final Genesis!
Marie: A True Story charts the rise of Marie Ragghianti (Sissy Spacek) from her violent marriage through her struggle as a single mother putting herself through school right up to her appointment as head of the state parole board. Uncovering widespread corruption in the parole system Marie makes the life changing decision to blow the whistle on the grafters and sentence the governor and his officials to the very prisons they sought to control...Through powerful oppostition and a barr
A fading country music star (Keith) returns to his hometown where he reunites with his childhood sweetheart and also meets his 16-year-old daughter for the first time.
They taught him how to play video games. He showed them how to survive! For California teenagers Ted Johnson (Keith Coogan Adventures In Babysitting) and his sister Susan a summer vacation in Africa turns into an incredible adventure and a struggle for survival. With their new friend Morogo a Masai tribal boy they share an amazing confusing and funny cross-cultural friendship. Together they find an orphaned cheetah cub 'Duma ' and raise her as a pet. But when Duma is stolen
Sometimes dismissed as a pale descendant of a great original, The New Avengers deserves a second look and is perhaps best considered as a largely successful attempt to re-imagine its predecessor for 1970s audiences. Patrick McNee was never the most convincing of action heroes, and the decision to make his John Steed the supervisor and mentor of two younger agents was a sensible one--Steed's virtues are style, wisdom and fortitude rather than physical prowess. Gareth Hunt's Gambit has an unattractively smug side, but has also a louche charm. Joanna Lumley's Purdey is one of the most attractive heroines of genre television, astonishingly leggy and beautiful. Those who only know her later incarnation as Patsy in Absolutely Fabulous will understand now why such a fuss is made over her. The script team overlaps heavily with that of the original series; the new show has the same quirkiness, only occasionally varying it with a rather darker leCarrésque complexity or sudden outbreaks of Hammer Horror. If it lacks some of the sheer style of the original, that is a reflection of its period--the 1970s were less visually imaginative than the 60s. Tightly plotted, imaginatively cast with interesting guest stars, it is only with The Avengers that The New Avengers suffers by comparison. --Roz Kaveney
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