Police Academy The call went out. The recruits came in. No longer would police cadets have to meet standards of height weight or other requirements. Brains were optional too. Can't spell IQ? Don't know the number 911? No matter. Police Academy grads are ready to uphold law and disorder! Police Academy 2: Their First Assignment When the newly graduated misfits in blue tangle with these pinheaded punks the result is an open-and-shut case of nonstop hilarity!. Steve Guttenberg George Gaynes and other Police Academy originals return to the roll call: it's a riot (a laugh-riot) in the streets! Police Academy 3: Back In Training A budget crisis has decreed that only one of the state's two cop schools can survive so the race is on to see which academy can avoid the axe by turning out the superior force. Mahoney Hightower Tackleberry Jones Hooks and Callahan - led by eternally befuddled Cmdt. Lassard (George Gaynes) - mobilize hilariously in their alma mater's defense. You have the right to remain silent - but you'll end up howling! Police Academy 4: Citizens On Patrol Cmdt. Lassard (Gaynes) decides to toughen up Neighborhood Watch groups by training them to be Citizens On Patrol or COPs. And guess who the instructors are? The same grads who thought the Fs on their own report card meant Fantastic. Leave it to our hapless heroes to save the day by taking to the skies on biplanes and balloons for a frantic finale. All aboard! Police Academy 5: Assignment - Miami Beach Our badge-carrying bunglers are in Miami for a convention honoring Cmdt. Lassard. But crime doesn't take a vacation even if our heroes do. So join your armed and hilarious favorites. If there's a 'Most Wanted' List for laughter these loony coppers have just gotta be on it! Police Academy 6: City Under Siege A mysterious Mr. Big is the mastermind behind a gang that robs banks and jewelers. Solving the case won't take a mastermind just an arsenal of gags and goofiness in the fun Police Academy tradition! Police Academy 7: Mission To Moscow Addled Cmdt. Lassard motor-mouth Jones gun fanatic Tackleberry curvaceous Callahan and human steam vent Harris join forces with Moscow's Chief of Police (Christopher Lee) and an icy-as-a-tundra translator (Claire Forlani). They take on the Godfather of the Russian mob (Ron Perlman) whose computer program plays like a video game but can actually steal money or goods planetwide without a trace. Prepare to kick some buttski!
If you were to argue Mel Brooks' Young Frankenstein ranks among the top-10 funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks' previous film Blazing Saddles sent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein (1931) and Bride of Frankenstein (1935). Filming in glorious black and white, Brooks recreated the Frankenstein laboratory using the equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for non-stop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It.) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankenstein is a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. No video library should be without a copy of Young Frankenstein. And just remember--it's pronounced "Fronkensteen". --Jeff Shannon
Dating from 1969, Butch Cassidy and the Sundance Kid has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more level-headed partner, the sharp-shooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the film maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom Keogh, Amazon.com On the DVD: This anamorphic widescreen print of the 2.35:1 Panavision original looks marvellously crisp, highlighting the sepia tinting and washed-out, over-exposed look of the film nicely and making the best of the deep focus cinematography. The mono soundtrack sounds clean and clear in Dolby 2.0. The commentary track is hosted by documentary-maker Robert Crawford with contributions from George Roy Hill, cinematographer Conrad Hall, and lyricist Hal David (who chips in during the "Raindrops" sequence). The 40-minute documentary dates from 1968 and is narrated by director Hill, who talks in detail about the making-of process, comments on his relationship with the three principals (Katharine Ross was the difficult one apparently), and adds little nuggets such as how they sprayed the bull's testicles to make him charge at the end of the bicycle scene. Also included are a series of absorbing 1994 interviews with all the main players: Newman, Redford, Ross, writer William Goldman, and composer Burt Bacharach. Trailers, Production Notes and an Alternate Credit Roll complete an attractive package. --Mark Walker
The Pink Panther is - paws down - the world's grooviest cartoon star. In 1964 the pink-inked feline slinked onto the opening credits of a live action film comedy and not only stole the show... but also the hearts of critics audiences and sophisticated cinephiles alike! And though the cartoons continue to this day the earlier entries are considered classics. Collected here for the first time are all of the original cartoon favourites - including the Oscar®-winning ThePink Phink (1964: Animated Short Subject) - that captured a world of fans... and will undoubtedly continue to do so for decades to come!
With A GHOST STORY, acclaimed director David Lowery (AIN'T THEM BODIES SAINTS, PETE'S DRAGON) returns with a singular exploration of legacy, loss, and the essential human longing for meaning and connection. Recently deceased, a white-sheeted ghost (Academy Award-winner Casey Affleck) returns to his suburban home to console his bereft wife (Academy Award-nominee Rooney Mara), only to find that in his spectral state he has become unstuck in time, forced to watch passively as the life he knew and the woman he loves slowly slip away. Increasingly unmoored, the ghost embarks on a cosmic journey through memory and history, confronting life's ineffable questions and the enormity of existence. An unforgettable meditation on love and grief, A GHOST STORY emerges ecstatic and surreal - a wholly unique experience that lingers long after the credits roll.
Low rent Broadway producer Max Bialystock (Zero Mostel) and his high-strung accountant Leo Bloom (Gene Wilder) discover that with the help of a few gullible investors they can make more money on a flop than on a hit! Armed with the worst show ever written (Springtime For Hitler) and an equally bizarre cast this double dealing duo is banking on disaster. But when their sure-to-offend musical becomes a smash hit they find themselves in the middle of a Broadway blitzkrieg! Winner of an Oscar for Best Original Screenplay Mel Brooks recently adapted his classic film as a Broadway musical and scooped a record-breaking 12 Tony awards.
For people who've discovered Jackie Chan through his American hit Rush Hour and want to learn what his Hong Kong movies are like, Project A is an excellent place to start. Chan plays a sailor in 19th-century Hong Kong; pirates have been terrorizing the seas for months and all efforts to combat them have been sabotaged by the corrupt chief of police and a criminal gang, who are in cahoots with the pirates. But the plot is hardly the point--a Jackie Chan movie is about astonishingly acrobatic action sequences and breathtaking stunts, and Project A has plenty. Of particular interest is a bicycle chase that is more suspenseful than any car chase you've ever seen. Chan is joined by Sammo Hung (star of the US TV series Martial Law) as a shifty con man who comes through when the chips are down. Project A also features Yuen Biao, a frequent co-star in Chan's movies, who's yet another astounding martial artist. But what separates Jackie Chan movies from other kung fu flicks is his sense of humour; every fight scene is punctuated by something--a clever use of a prop or sudden reversal of your expectations--that will make you bark with laughter. Sometimes it's just so exquisitely choreographed that the entire movie seems to float on a cloud of giddy delight. Jackie Chan is often compared to the classic silent comedians for his grace and timing--he lives up to it. --Bret Fetzer
Dragon (Jackie Chan) and Bull (Mars) are childhood friends who spend most of their free time chasing after local girls in general and spying on one in particular who catches their eyes. A gang in the nearby dwelling is smuggling precious Chinese artifacts to westerners. Hoi (Chan Wai-man) is a reluctant party to the scheme and when he voiced his objection, the Big Boss sent his henchmen after him to keep him quiet. When the mischievous duo came across Hoi, who was hiding in their village, they take on the gang to protect the artifacts.
Low rent Broadway producer Max Bialystock (Zero Mostel) and his high-strung accountant Leo Bloom (Gene Wilder) discover that with the help of a few gullible investors they can make more money on a flop than on a hit! Armed with the worst show ever written (Springtime For Hitler) and an equally bizarre cast this double dealing duo is banking on disaster. But when their sure-to-offend musical becomes a smash hit they find themselves in the middle of a Broadway blitzkrieg! Winner of
Collects all six of the Digimon Adventure Tri movies into one boxset. A mysterious anomaly is causing distortions in the Real World and Digimon are being plagued by a virus that turns them hostile. These circumstances lead to the DigiDestined being reunited with their partner Digimon. Joined by another DigiDestined named Meiko Mochizuki and her partner Meicoomon, the DigiDestined must not only deal with the infected Digimon and the mystery behind them but also with the responsibilities and burdens of growing up.
With A GHOST STORY, acclaimed director David Lowery (AIN'T THEM BODIES SAINTS, PETE'S DRAGON) returns with a singular exploration of legacy, loss, and the essential human longing for meaning and connection. Recently deceased, a white-sheeted ghost (Academy Award-winner Casey Affleck) returns to his suburban home to console his bereft wife (Academy Award-nominee Rooney Mara), only to find that in his spectral state he has become unstuck in time, forced to watch passively as the life he knew and the woman he loves slowly slip away. Increasingly unmoored, the ghost embarks on a cosmic journey through memory and history, confronting life's ineffable questions and the enormity of existence. An unforgettable meditation on love and grief, A GHOST STORY emerges ecstatic and surreal - a wholly unique experience that lingers long after the credits roll.
Noel Coward's timeless movie of a couple who meet in a railway station and must make a decision that will change their lives forever.
Featuring all 11 of The Land Before Time animated films in one collection!
Everybody's favourite prehistoric pals are back! Join Littlefoot Cera Spike Ducky and Petrie in this delightful all-new feature-length movie. It's an exciting treat filled with original songs brilliant animation and the beloved dinosaurs from the family classic The Land Before Time. The enchanting tale continues in the beautiful peaceful Great Valley where Littlefoot and his plant-eating friends live and play under the watchful eyes of their parents. But when mischievous Ce
Jackie Chan has become a genre unto himself, and watching Police Story, you'll understand why. The plot is minimal: Chan is a hero cop involved in a raid that goes wrong. He's assigned to guard a witness, the kingpin's attractive female secretary (Brigitte Lin). For the rest of the film, Chan's protecting himself from the secretary, from the gangsters out to silence her and from his own jealous girlfriend (Maggie Cheung). But watching Chan for plot is like watching porno for existential themes. While most modern action films steal cues from Westerns, Chan condenses those open mesas into the dense throngs of modern Hong Kong--and tosses in Buster Keaton slapstick. For example, when the opening raid goes haywire, there's an unbelievable car chase through the steep huddle of a hillside shantytown. That's through. No roads, just shacks. Flimsy shacks. As the film progresses, Chan scales a speeding bus using an umbrella, uses cow dung as an excuse to break into some Shaolin moonwalking and transforms an urban shopping mall into a demented gymnasium (think clothes racks, escalators, and lots of plate glass displays). Chan is amazingly versatile both physically and emotionally--and he's a secure enough star-director to let his co-stars shine, too. --Grant Balfour
All the music fun and excitement under the sea resurface in this magical special edition of Disney's 28th animated masterpiece. Awash with breathtaking animation unforgettably colorful characters and two Academy Awards for score and song ""Under The Sea "" The Little Mermaid is one of Disney's most cherished films. Ariel the fun-loving and mischievous mermaid is enchanted with all things human. Disregarding her father's order to stay away from the world above the sea she swims to the surface and in a raging storm rescues the prince of her dreams. Determined to be human she strikes a bargain with the devious sea witch Ursula and trades her fins and beautiful voice for legs. With her best friend the adorable and chatty Flounder and her reluctant chaperone Sebastian the hilarious reggae-singing Caribbean crab at her side Ariel must win the prince's love and save her father's kingdom -- all in a heart-pounding race against time!
Jackie Chan lays down the ground rules for the world's most dangerous game.......... He's the biggest action movie star in the world (and possibly the smallest too) already a living legend for the spectacular and death-defying stunts he performs which electrify movie audiences worldwide and often land him in casualty nursing sometimes serious injuries. He's Jackie Chan and he has himself produced and directed a 90 minute behind-the-scenes look at what amounts to the world's most
Fletch is a fairly sarcastic and occasionally very funny Chevy Chase vehicle scripted by Andrew Bergman (Blazing Saddles, The Freshman, Honeymoon in Vegas) from Gregory McDonald's lightweight mystery novel about an undercover newspaper reporter cracking a police drug ring. Enjoyment of the film pivots on whether you find Chase's flippant, smart-ass brand of verbal humour funny, or merely egocentric. If you don't like Chase, there's really no one else worth watching (Geena Davis is sadly underused). Chase seems born to play IM "Fletch" Fletcher, a disillusioned investigative reporter whose cynicism and detached view on life mirrors the actor's understated approach to comedy. Fletcher offers Chase the opportunity to adopt numerous personas, as his job requires numerous (bad) physical disguises, and much of film's humour centres on the ridiculous idea that any of these phoney accents or bad hairpieces could fool anyone. These not-so-clever disguises are put to use when Fletch becomes involved in the film's smart but continually self-mocking two-part mystery. As well as trying to gather drug-smuggling evidence against the LAPD for a long-overdue newspaper story, a rich and apparently terminally ill stranger also offers Fletch a large payoff to kill him. While the film does a fairly good job juggling both of these plots, not to mention tossing in a love interest as well, they're subservient, for better or worse, to Chase's memorable one-liners and disguises. Followed by two forgettable sequels that lack both the original's wit and Chase's attention span.--Dave McCoy, Amazon.com
Police Academy The call went out. The recruits came in. No longer would police cadets have to meet standards of height weight or other requirements. Brains were optional too. Can't spell IQ? Don't know the number 911? No matter. Police Academy grads are ready to uphold law and disorder! Police Academy 2: Their First Assignment When the newly graduated misfits in blue tangle with these pinheaded punks the result is an open-and-shut case of nonstop hilarity!. Steve Gu
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