One of the sunniest of Tinto Brass's erotic comedies, this sets its breezy tone from the opening scene in which Lola (Anna Ammirati) cycles around a small Po Valley town in a flapping skirt that leaves nothing to the imagination. But it's the 1950s, and her baker fiancée Masetto (Max Parodi) is determined that Lola remains a virgin until their wedding night. However, she is equally set on establishing whether or not he's a good lover before they tie the knot. His dough-kneading technique seems promising, but how can she be sure without an expert to compare him with? In short, can Masetto live up to the erotic ideals professed by Lola's mother's lover (Patrick Mower)? Fortunately, the outwardly innocent town turns out to be a hotbed of licentiousness, with opportunities for voyeurism and maybe more around every corner - all in the interests of self-improving research, of course.
One would think that after the aquatic horror of the previous three Jaws movies the remnants of the beleaguered Brodie family would be happily nursing their hydrophobia somewhere in Kansas. However, in Jaws--The Revenge, the fourth episode of the saga, we find that Ellen (Lorraine Gary) is still living on a tiny island, and her eldest son Michael (Lance Guest) has become, of all things, a marine biologist. Even when her younger son is slaughtered by yet another giant shark, all Ellen can do to take her mind off it is go to the Bahamas and gaze at the sea. There she embarks on a romantic affair with salty sea-pilot Hoagie (a nice turn from Michael Caine), but this peace is shattered as the shark begins to target her grandchildren and friends. Where this monster-with-a-grudge comes from, bearing in mind that the sharks in each of the previous movies got blown up or electrocuted, is something of a conundrum. But logic is clearly not a concern in a script that demands only that this film should bear some tenuous relation to its predecessors. The ghost of the far-superior original looms large here--in the form of Ellen's flashbacks (which actually use footage from the earlier films), scenes which overtly refer to moments from the series (Michael's son mimics him at the dinner table, as Michael once did to his own father) and a set littered with conspicuously large photos of Roy Scheider. There are nice touches--Michael and his Jamaican partner Jake (Mario Van Peebles) fit the shark with a heart monitor which lets off an eerie blipping sound when it approaches, it is nice to see a romance between more "mature" characters portrayed so warmly, and when the maternal Ellen forms the resolve to protect her family it even looks like she may briefly become a sort of geriatric Ripley character (a la Aliens). But with a shark that has never looked more rubbery, set pieces which lack suspense and invention and a short running time (only 86 minutes) it is hard to shake off the sensation that this is a made-for-TV film. Those wanting a dose of tongue-in-cheek killer-creature action would be better off avoiding this wet fish and taking in a Jaws rip-off with a little more bite, such as Deep Blue Sea or Deep Rising. --Paul Philpott
The first collaboration between Eastwood and Leone. The story of the man with no name, who tries to turn a gang feud to his own advantage.
Paul and Nelly have what appears to be the perfect life; happily married a wonderful son and a successful business in their idyllic lakeside hotel. For Paul it all seems too perfect and he begins to suspect his wife of having an affair. Tormented by nightmares and visions his paranoia soon threatens Nelly as his jealousy descends into madness...
Based on an Ian McEwen novel, The Comfort of Strangers is directed by Paul Schrader at his most portentous. A young couple holidaying in Venice are taken up by an older more sophisticated pair. Christopher Walken as the Eurotrashy Roberto portrays with considerable vigour the sort of smooth stranger from whom anyone who has ever seen this sort of movie ought to run a mile, and Helen Mirren as his complaisant wife is hardly less sinister. Rupert Everett and Natasha Richardson are believably obtuse as the lovers who fail to understand exactly what they are being sucked into. This ought to be a far better film than it is: Harold Pinter's script is elliptically menacing and Angelo Badalamenti's score attractively gloomy. But in the end The Comfort of Strangers presents a rather low-rent vision of decadence: Roberto's praise of Margaret Thatcher and habit of photographing the unwary and beautiful are not quite enough to make the film's shocking climax entirely plausible. The DVD contains no additional features other than the obligatory theatrical trailer. --Roz Kaveney
Step Up: Special Edition (Dir. Anne Fletcher) (2006): Incredible dancing and awesome music fuel Step Up the exhilarating and inspiring movie starring Channing Tatum (She's The Man) who sizzles as Tyler Gage a rough and streetwise hunk with raw talent. When Tyler finds himself doing community service at a school for the performing arts he also finds Nora a beautiful and privileged classically trained dancer who's searching for a temporary replacement for her injured dance partner. Spying Tyler's smooth moves Nora decides to take a chance on him. But as they begin training tension builds tempers flare and the differences in their backgrounds explode - igniting this electrifying tale about not giving up on your dreams. Step Up 2 The Streets (Dir. Jon Chu) (2008): Set at the Maryland School of the Arts Step Up 2 The Streets| revolves around dance student Patrick (Robert Hoffman) and rebellious new student Andie (Briana Evigan). When rebellious street dancer Andie lands at the elite Maryland School of the Arts she finds herself fighting to fit in while also trying to hold onto her old life. When she joins forces with the school's hottest dancer Chase to form a crew of classmate outcasts to compete in Baltimore's underground dance battle The Streets she ultimately finds a way to live her dream while building a bridge between her two separate worlds.
In this sexy romantic and uncomfortably chilling tale of love and deception from first time director Marcelo Briem Stamm two men meet in a chat room but when they eventually meet in person and the sexual sparks are hot. While sex is satisfying and often it is their collective problems with intimacy trust and the fear of being hurt that make them hesitant to commit fully. As their relationship develops both reveal secrets from their past but these revelations may be real imagined or outright lie.
The early 1980s experienced a wave of technology fever, and it seemed like every machine wanted to be bionic. There was K.I.T.T. the car, Street Hawk the motorbike, Airwolf the helicopter, and Blue Thunder--which looked like the Mechano version of Airwolf. In what seems a moment of Austin Powers humour, it's explained that this super chopper cost "five million dollars"! Its supposed reason for being is aerial crowd control, but as Murphy (Roy Scheider) discovers--when not suffering 'Nam flashbacks--there's a government plot to silence a Senator who's disgruntled with urban pacification standards. Director John Badham obviously loved fiddling about with technology--he directed Wargames after all--and here there are lingering shots of buttons and switches, multiple takes of turns in the air, and any excuse used for a bit of primitive computer imagery. The secondary characters quickly begin to seem like wallpaper: Daniel Stern's spunky co-pilot has but one plot device to execute, and Malcolm McDowell plays the same tired old Brit baddie he's played for years. Ultimately it's the protracted aerial battle finale (which played havoc with LA air traffic control) that stays with you. Oh, and a gratuitous cameo from a nude contortionist! On the DVD: There are no special features here, except a trailer and filmographies. --Paul Tonks
STARE INTO THESE EYES... Discover deep within them the unspeakable terrifying secret of BLACK SUNDAY... it will paralyze you with fright! Legendary Scream Queen Barbara Steele (Shivers, Caged Heat) stars in this classic slice of gothic terro from the father of fantastic Italian cinema Mario Bava (Lisa and the Devil). A beautiful witch is sentenced to death for her evil deeds by her own brother, condemned to die by having a metal mask hammered onto her face before being burnt at the stake. As she passes, she puts a terrible curse on all her future descendants as the spikes of thedeath mask pierce her flesh... But when two unwitting travellers discover her final resting place and worse, drip blood on her resting corpse, they unleash her once again in all her stunningly beautiful, terrifying glory... Baned in the UK on its release, Black Sunday is a groundbreaking film that opened the door for Spaghetti horror in all its gory glory.
To be a librarian you must master the Dewey Decimal System ace internet research and if you're new librarian Flynn Carsen (Noah Wyle) save the world! Wyle (E.R.) heads a sterling cast in a fun fantastical special effects-laden adventure that soars around the world from the Metropolitan Library to the Amazon jungle to the Himalayas. Geeky Carsen lands a job as the Librarian keeper of such top-secret Met treasures as Excalibur and Pandora's Box. Then the Serpent Brothe
Puccini: Manon Lescaut (Levine Scotto Domingo)
The romantic trajectory of two people struggling to make love work in spite of overwhelming odds. Having met in the '80s after a disastrous one night stand Adam and Steve don't recognize each other when they meet again fifteen years later. With the help of their best friends - a formerly obese stand-up comic Rhonda and straight guy ladies man Michael - our protagonists fall in love only to realize a year into their relationship that they met before and unwittingly changed the course of each other's lives that fatefull night in the 80's. Now the question is - can they accept this and incorporate it into their current understanding of each other? Or more importantly can they hold hands on the street without being beaten up?
NOTICE: Polish Release, cover may contain Polish text/markings. The disk DOES NOT have English audio and subtitles. 16 year old Billie's reluctant path to independence is accelerated when her mother reveals plans to gender transition and their time t...
Italian horror maestro Dario Argento made his name by turning homicide into modern art with a cinematic flourish, but with Phenomena he takes his stylish mayhem in new directions. The film opens with the dreamy grace of a fairy tale: a young girl wandering the green meadows of Switzerland and discovering a gingerbread house, wherein lives a monster more modern than mythic, a psychopathic maniac who plunges the picture into a lush nightmare. Jennifer (Jennifer Connelly in her first starring role), a gifted young girl at a Swiss school, has a psychic link to the insect world and develops a connection with the killer through midnight sleepwalks. With the help of a lonely, wheelchair-bound entomologist (genre stalwart Donald Pleasence, who inflects his sonorous tenor with a gentle Scottish burr) she turns telekinetic detective, which only draws her closer to the killer's lair. The densely plotted story becomes muddled at times (this is the busiest film in Argento's oeuvre) but the lyrical cinematography and gorgeous nocturnal imagery--dreamy sleepwalks, nightmarish murders, hideous horrors that emerge in the dark of night--take on a poetic elegance not seen in his previous work, providing the tale with a kind of dream logic. This is a slasher film reborn as an exquisitely grim fantasy: Jennifer in Argentoland. --Sean Axmaker
Mon Amour is the love-story of a Venetian girl and Frenchman in the beautiful city of Mantua. Dario is to busy to notice his wife's sexual drifting. Her adultery borne out of neglect and frustration starts on the day she meets the tall dark stranger in the museum. An intoxicating mix of lies betrayal and fantasy follow Marta into her personal diary where every emotion and passion is recorded.
A lonely schoolteacher (Audran) develops an inexplicable attraction toward an ex-army butcher (Yanne) who may or may not be a serial killer plaguing a small town... Drawing on Hitchockian themes of exchanged guilt and shared secrets writer/director Claude Chabrol constructs an extraordinary relationship between the two characters that marries unspoken self-awareness with constant suspense over the unresolved nature of their bond.
Thriller directed by Sylvie Verheyde and starring Hafsia Herzi and Ash Stymest. Virginie (Herzi) is a sex worker in the underground sex trade of London. Despite being highly-priced and thus avoiding many of the dangers sex workers normally face on the street Virginie takes little joy in her position, almost sleepwalking through her life. She is awoken however by the appearance of a man who seems to follow her wherever she goes.
Sweet Sweetback's Baadasssss Song is the story of a young hustler (Van Peebles) whose aimless pleasure-seeking turns to radicalism after witnessing the beating of a black revolutionary by two white cops. Sweetback driven to a state of blind rage takes brutal revenge on the cops forcing him into a desperate life on the run. Despite a minor opening at only two theaters followed by a torrent of negative reviews 'Sweetback' mushroomed to $10 000 000 at the box office
Having tackled the corrupting nature of power with Investigation of a Citizen Above Suspicion and taken an angry, impassioned look at labour relations with The Working Class Goes to Heaven, Italian master Elio Petri next turned his attentions to capitalism for the darkly comic Property is No Longer a Theft. A young bank clerk (Flavio Bucci, the blind pianist in Dario Argento's Suspiria), denied a loan by his employer, decides to exact his revenge the local butcher (Ugo Tognazzi, La Grande bouffe) who is not only a nasty, violent, greedy piece of work but also one of the bank's star customers. Quitting his job, the clerk devotes all of his time tormenting the butcher, stealing his possessions one-by-one, including his mistress (Daria Nicolodi, Deep Red). Told in an off-kilter fashion by Petri, abetted by the woozy sound design and another outstanding score by Ennio Morricone, Property is No Longer a Theft presents a caustic, blackly comic look at a corrupt society.
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