Reese Witherspoon stars in this romantic comedy as a New York fashion designer with a past that holds many secrets, including Jake, the redneck husband she married in high school, who refuses to divorce her.
Kevin Costner's lousy English accent is a small obstacle in this often exciting version of the Robin Hood fable. That aside, it's refreshing to have a preface to the old story in which we meet the robber hero of Sherwood Forest as a soldier in King Richard's Crusades, coming home to find his people under siege from the cruelties of the Sheriff of Nottingham (Alan Rickman). After Robin and his community of outcasts and fighters take to the trees, director Kevin Reynolds (Fandango, 187) is on more familiar narrative ground, and he goes for the gusto with lots of original action (Robin shoots two arrows simultaneously from his bow in two directions). Mary Elizabeth Mastrantonio, as Marion, makes a convincing damsel in distress and Morgan Freeman brings dignity to his role as Robin's Moor friend. Alan Rickman, however, gets the most attention for his scene-chewing role as the rotten sheriff, an almost campy performance that is highly entertaining but perhaps a little out of sorts with the rest of the film. --Tom Keogh
COBRA KAI takes place over 30 years after the events of the 1984 All Valley Karate Tournament with the continuation of the inescapable conflict between Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka). Season Three finds everyone reeling in the aftermath of the violent high school brawl between their dojos, which has left Miguel in a precarious condition. While Daniel searches for answers in his past and Johnny seeks redemption, Kreese further manipulates his vulnerable students with his own vision of dominance. The soul of the Valley is at stake, and the fate of every student and sensei hangs in the balance.
Dances with Wolves is the film that sent director-producer-actor Kevin Costner on his hubristic way; yet it is such a resonant and powerful film that we can almost forgive him for inflicting upon us his later "epic" The Postman. Here Costner plays a Union solder stationed at the far edges of the West, and left there to rot at his post. He finally sees the wisdom of the Lakota Sioux and finds peace within their community. But his decision to "go native" is greatly frowned upon by his military commanders, and the subsequent culture clash forms the backbone of the narrative. The story is told simply, and wastes not one word of dialogue, while the South Dakota locations provide a magnificent backdrop. Costner is sympathetic and accessible as an American Everyman who awakens to himself and the world around him... --Rochelle O'Gorman, Amazon.com
In the spring of 1980 the port at Mariel Harbour was opened and thousands set sail for the United States. They came in search of the American Dream. One of them found it on the sun-washed avenues of Miami... wealth power and passion beyond his wildest dreams. He was Tony Montana. The world will remember him by another name - Scarface! Al Pacino gives an unforgettable performance as Tony Montana one of the most ruthless gangsters ever depicted on film in this gripping crime epi
Christmas family comedy directed by independent filmmaker Jon Favreau. Will Ferrell stars as Buddy, a human being who has spent his whole life believing himself to be an elf. Brought up by Santa (Edward Asner) and his elves at the North Pole, Buddy has spent the last 30 years happily working in Santa's toy workshop. But when his ungainly size starts to become a liability in the elf-sized working environment, Santa suggests that Buddy head to New York City to find his biological father (James Caan). Needless to say, the unlikely spectacle of a 6'5' man dressed from head to foot in bright green stands out a mile on the streets of the Big Apple, and the good-natured Buddy finds himself in all sorts of scrapes as he gets used to his new family and surroundings - and they get used to him.
Julie Andrews stars as Millie an innocent country girl who comes to the big city in search of a husband. Along the way she becomes the secretary of the rich and famous Trevor Graydon (John Gavin) befriends the sweet Miss Dorothy (Mary Tyler Moore) fights off white slaver Mrs. Meers (Beatrice Lillie) and hooks up with a lively paper clip salesman Jimmy (James Fox). In the end it takes a rich and nutty jazz baby like Muzzy (Carol Channing) to unravel all these complications give
There's comedy among the dustbins with this classic top-rated series from the late 60s/early 70s. Created by celebrated writer Jack Rosenthal ('The Evacuees') the series revolves around four misfits and their affectionately-named dustbin van - ""Thunderbird 3"". Rosenthal would go on to write the highly-successful comedy series 'The Lovers' and create one of ITV's most watched programmes - 'London's Burning'. 'The Dustbin Men's' working-class humour outraged Mary Whitehouse at the t
In this final explosive third installment of the Matrix trilogy the city of Zion last bastion of the human race defends itself against the massive invasion of the machines as Neo attempts to fulfill his prophecy as 'The One'. As the Machine Army wages devastation on Zion its citizens mount an aggressive defense - but can they stave off the relentless swarm of Sentinels long enough for Neo adrift in a no man's land between the Matrix and the Machine world to harness the full exte
Kevin Costner's 1990 epic won a bundle of Oscars for a moving, engrossing story of a white soldier (Costner) who singlehandedly mans a post in the 1870 Dakotas, and becomes a part of the Lakota Sioux community who live nearby. The film may not be a masterpiece, but it is far more than the sum of good intentions. The characters are strong, the development of relationships is both ambitious and careful, the love story between Costner and Mary McDonnell's character is captivating. Only the third-act portrait of white intruders as morons feels overbearing, but even that leads to a terribly moving conclusion. Costner's direction is assured, the balance of action and intimacy is perfect--what more could anyone want outside of an unqualified masterpiece? --Tom Keogh
John Waters (Hairspray) made bad taste perversely transcendent with the forever shocking counterculture sensation Pink Flamingos, his most infamous and daring cinematic transgression. Outré diva Divine (Female Trouble) is iconic as the wanted criminal hiding out with her family of degenerates in a trailer outside Baltimore while reveling in her tabloid notoriety as the Filthiest Person Alive. When a pair of sociopaths (Mink Stole and David Lochary) with a habit of kidnapping women in order to impregnate them attempt to challenge her title, Divine resolves to show them and the world the true meaning of the word filthy. Incest, cannibalism, shrimping, and film history's most legendary gross-out endingWaters and his merry band of Dreamlanders leave no taboo unsmashed in this gleefully subversive ode to outsiderhood, in which camp spectacle and pitch-black satire are wielded in an all-out assault on respectability. Product Features New 4K digital restoration, supervised and approved by director John Waters, with uncompressed monaural soundtrack Two audio commentaries featuring Waters, from the 1997 Criterion laserdisc and the 2001 DVD release New conversation between Waters and filmmaker Jim Jarmusch Tour of the film's Baltimore locations, led by Waters Deleted scenes, alternate takes, and on-set footage Trailer English subtitles for the deaf and hard of hearing And more! PLUS: An essay by critic Howard Hampton and a piece by actor and author Cookie Mueller about the making of the film, from her 1990 book Walking Through Clear Water in a Pool Painted Black
! Picking up 30+ years after the Karate Kid films, a down-and-out Johnny Lawrence seeks redemption by re-opening the infamous Cobra Kai dojo, reigniting his rivalry with a now successful Daniel LaRusso
Originally released in 1974, The Odessa File is set in Hamburg a decade earlier. Its starting-point is the Nazi support network Odessa, and its involvement with Egyptian plans to destroy Israel. Peter Miller is a freelance journalist whose interest appears initially to be a professional one, before a personal dimension finally becomes apparent in his confrontation with SS Captain Roschmann. Kenneth Ross adapts a well-honed screenplay from Frederick Forsyth's bestseller, and director Ronald Neame captures a typically Cold War sense of individuals and organisations playing out a scenario of political right and wrong. John Voight, long before he became a cameo star, makes a sympathetic lead, able to judge between the moral and material aspects of his profession. Mary Tamm is photogenic, if uninvolving, as his girlfriend, while Maximillian Schell is a convincing Nazi stereotype. Andrew Lloyd-Weber contributes a serviceable score, centred on the catchy "Christmas Dream" sung by Perry Como. Not a classic suspense thriller, but an enjoyable and thoughtful one. On the DVD: the letterbox widescreen format preserves the 2.35:1 aspect ratio of the cinema release with decent if not exceptional clarity, with optional 16:9 TV enhancement. There are French, German, Italian and Spanish overdubs, and subtitles in 21 languages. Detailed filmographies for Neame, Voight and Schell are included and the theatrical trailer is to the point in a way they so rarely are these days. --Richard Whitehouse
In Winning London, Mary-Kate and Ashley Olsen are tasked with straightening out stalled romances and stifling an overactive competitive streak. The scene is set in London, where Chloe and Riley (Mary-Kate and Ashley), along with other members of their high school's Model UN team, are strutting their strategic mock peace-bringing stuff at an international competition. While Chloe captures the heart of an upper-crust English boy, Riley sets her sights on teammate Brian, who's clueless enough to call her kiddo. After a breakdown in her budding romance, Chloe, who's accustomed to winning, learns to chill out and consider the more sporting side of competitions. This being a Mary-Kate and Ashley vehicle, shopping for schoolgirl-swanky ensembles is involved, as is boogying with the boys at hot nightspots. Sightseeing excursions to Westminster Abbey and Buckingham Palace among other places, feel thrown in as educational titbits for parents' sake; better to watch this purely for fun. --Tammy La Gorce, Amazon.com
Robin Hood: Prince of Thieves reinvented the legend for contemporary cinema audiences, and in doing so far outstripped at the box office even Kevin Costner's own infinitely superior Dances with Wolves to become the biggest hit of 1991. It's an entertaining enough family adventure film, but plays like a big-budget TV movie with no distinctive flair for action or romance. (Director Kevin Reynolds would reunite with Costner four years later for the equally stodgy Waterworld). If the accents are all over the place, at least Mary Elizabeth Mastrantonio makes a Maid Marion of ravishing Pre-Raphaelite beauty. Morgan Freeman is fine as Robin's Moorish sidekick, though, other than to expand the demographic, his character has no business being in the story. Realising that the whole enterprise has the credibility of a pantomime, Alan Rickman outrageously camps up his Sheriff of Nottingham, stealing the film in the process. Costner makes an acceptable hero, though he will never replace Errol Flynn in the definitive The Adventures of Robin Hood. If you can accept explosives in 13th-century England, that the approach to Sherwood Forest is a modern conifer plantation and that the 170 miles from Dover to Nottingham is a matter of a few hours ride via Northumberland, then you may find much to enjoy here. Otherwise an already overlong film has been extended to an excessive 148 minutes in this special edition, making far too much of a not very good thing. On the DVD: Robin Hood: Prince of Thieves is presented as a two-disc set, with a 1.78:1 anamorphic transfer that is generally good looking but with an occasionally soft picture and some evidence of dirt and minor print damage. The Dolby Digital 5.1 remix of the original stereo soundtrack is atmospheric and powerful and shows off Michael Kamen's score to its best. Though presented with 12 minutes of footage not seen in the cinema version, the film still suffers most of the cuts (amounting to 28 seconds) imposed by the BBFC over the years. The main extras are a pair of commentaries: Costner and Reynolds discuss the film in frank and enthusiastic detail, while on a second track Freeman, Slater, writer/producer Pen Densham and cowriter/producer John Watson offer a great deal of insight plus a fair bit of stating the obvious, backslapping and critic bashing. Robin Hood: The Myth, the Man, the Movie (31 mins) is a cut version of a 45-minute TV special originally broadcast in America the night before the premiere, and offers an interesting if brief look at the Robin Hood story plus some routine making-of material. Finally, there is a video of Bryan Adams performing "Everything I Do, I Do It for You" live at Slane Castle and 18 minutes worth of bland electronic presskit-style archive interviews with Costner, Freeman, Mastrantonio, Slater and Alan Rickman, plus the original American trailer, a stills gallery and cast and crew list. --Gary S Dalkin
Deservedly acclaimed as one of 1998's best films, this sequel to the beloved 1995 live-action fantasy proved a commercial catastrophe and a source of dismay to parents expecting another bucolic, sweet-natured fable. Every bit as sly and visually stunning as its predecessor, Babe: Pig in the City is otherwise a jolting ride beyond the Hoggetts' farm into a no less vivid but far darker world--the allegorical city of the title, which for the diminutive "sheep pig" proves truly nightmarish. Australian filmmaker George Miller (Mad Max, The Road Warrior), who produced and cowrote the first film, this time takes the director's reins, and he ratchets up the pace and the peril as effectively as he did on his influential trilogy of apocalyptic, outback sci-fi thrillers. From the opening scene, Babe: Pig in the City means to disrupt the reassuring calm achieved by the conclusion of the previous film. Babe's prior triumph proves short-lived, and within moments Miller has us literally peering into the depths as he sets up a horrific well accident that nearly kills the taciturn but good-hearted Farmer Hoggett (James Cromwell), Babe's beloved "Boss." Journeying with the equally pink, even plumper Mrs. Hoggett (Magda Szubanski), the young pig finds himself in a city where animals are outcasts, staying in the lone hotel that allows pets. When Mrs. Hoggett is detained, Babe must contend with the suspicions and rivalries of the hotel's other four-legged guests. The film's G status doesn't fully telegraph the shock Miller induces: bad things happen to good animals, and Babe's new acquaintances are a far cry from his colleagues on the farm. In particular, he must contend with a cynical family of chimps given wonderful, dead-pan voice characterisations by Steven Wright and Glenne Headly. Miller's use of effects to transform his animals into "actors" is even more seamlessly integrated than in Babe. The sequel's production design is crucial to the creation of a complete, absorbing world, and purely visual ideas--such as a deluge of blue balloons during the climactic ballroom battle--achieve a splendour and originality that a room full of computer-graphics desktops couldn't muster. Ultimately, though, the film does more than amaze: as Babe's compassion and courage transform those around him, we're moved in ways that purveyors of by-the-numbers family fare can only dream of. --Sam Sutherland
A Star Is Born: This film marked Judy Garland's return to movies after a four year absence director George Cukor's first musical and first colour film and a showcase for the great Harold Arlen/Ira Gershwin songs in state-of-the-art stereo. One of the most beloved show business stories of all time A Star Is Born: represents a career peak for many involved. Garland is singer Esther Blodgett an undeniable talent on the rise. She catches the eye of Norman Maine (James M
Lawyer Jebediah Ward devoted to defending victims of large corporations and the State is fighting for compensation for the victims of automobile accidents involving defective cars. However it turns out that the manufacturer in his latest case is being defended by none other than Ward's daughter...
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