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.
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
The best screen version yet of a John Grisham novel delivers all-out suspense! A trailer park kid witnesses the suicide of a mob lawyer and ispursued by authorities trying to find out if he knows anything. To protect himself he hires a feisty female attorney who takes up his case anddevelops a bond with him.
The award winning story of the Magdalene Asylums of 1960s Ireland, where countless young women were ritually abused by the Catholic Church.
Based on a short story by Stephen King, "1408" really does have horror inscribed in its soul.
An ex FBI agent (Edward Norton) reluctantly comes out of retirement and turns to the imprisoned Hannibal Lector (Anthony Hopkins) for help in tracking down another serial killer.
Retired CIA agent Frank Moses (Bruce Willis) reunites his team of elite operatives in the highoctane action-comedy RED 2.
Retired CIA agent Frank Moses (Bruce Willis) reunites his team of elite operatives in the highoctane action-comedy RED 2.
The exceptionally fine cast--Susan Sarandon, Tommy Lee Jones, J T Walsh, Mary-Louise Parker, Anthony Edwards, William H. Macy, Anthony LaPaglia, Ossie Davis and Brad Renfro--goes a long way toward making The Client one of the more solidly enjoyable screen adaptations of a John Grisham southern gothic legal thriller. Teen-hearthrob Renfro is a natural, playing a kid whose life is in jeopardy after he witnesses the death of a Mob lawyer. Susan Sarandon is the attorney who decides to look after the boy; nobody can match her when it comes to playing strong and protective maternal figures (Thelma and Louise, Lorenzo's Oil, Dead Man Walking). Sarandon won her fourth Oscar nomination as best actress for this role, before finally winning the following year for Dead Man Walking. Author Grisham was so impressed with former window dresser/fashion designer/screenwriter-turned-director Joel Schumacher's work on this movie that he later asked him to direct A Time to Kill. --Jim Emerson
There have been many film and TV adaptations of Oliver Twist but this 1948 production from director David Lean remains the definitive screen interpretation of the Charles Dickens classic. From the ominous symbolism of its opening storm sequence (in which Oliver's pregnant, ill-fated mother struggles to reach shelter before childbirth) to the mob-scene climax that provokes Bill Sikes's dreadful comeuppance, this breathtaking black-and-white film remains loyal to Dickens while distilling the story into its purest cinematic essence.Every detail is perfect--Lean even includes a coffin-shaped snuffbox for the cruel Mr. Sowerberry--and as young Oliver, eight-year-old John Howard Davies (who would later produce Monty Python's Flying Circus for the BBC) perfectly expresses the orphan's boyish wonderment, stern determination and waifish vulnerability. Best of all is Alec Guinness as Fagin, so devious and yet so delightfully appealing under his beak-nosed (and, at the time, highly controversial) make-up. (Many complained that Fagin's huge nose and greedy demeanour presented an anti-Semitic stereotype, even though Lean never identifies Fagin as Jewish; for this reason, the film wasn't shown in the US until three years after its British release.) Likewise, young Anthony Newley is artfully dodgy as Fagin's loyal accomplice, the Artful Dodger. Guinness's performance would later provide strong inspiration for Ron Moody's equally splendid portrayal of Fagin in the Oscar-winning Oliver! and while that 1968 musical remains wonderfully entertaining, it is Lean's film that hews closest to Dickens' vision. The authentic recreation of 19th-century London is marvellous to behold; Guy Green's cinematography is so shadowy and stylised that it almost qualifies as Dickensian film noir. Lean is surprisingly blunt in conveying Dickens's theme of cruelty but his film never loses sight of the warmth and humanity that Oliver embodies. --Jeff Shannon
OK, let's get all the disclaimers out of the way first. Despite its colourful (if crude) animation, South Park: Bigger, Longer & Uncut is in no way meant for kids. It is chock full of profanity that might even make Quentin Tarantino blanch and has blasphemous references to God, Satan, Saddam Hussein (who's sleeping with Satan, literally) and Canada. It's rife with scatological humour, suggestive sexual situations, political incorrectness and gleeful, rampant vulgarity. And it's probably one of the most brilliant satires ever made. The plot: flatulent Canadian gross meisters Terrance and Philip hit the big screen and the South Park quartet of third graders--Stan, Kyle, Kenny, and Cartman--begin repeating their profane one-liners ad infinitum. The parents of South Park, led by Kyle's overbearing mom, form "Mothers Against Canada", blaming their neighbours to the north for their children's corruption and taking Terrance and Philip as war prisoners. It's up to the kids then to rescue their heroes from execution, not mention a brooding Satan, who's planning to take over the world. To give away any more of the plot would destroy the fun but this feature-length version of Trey Parker and Matt Stone's Comedy Central hit is a dead-on and hilarious send-up of pop culture. And did we mention it's a musical? From the opening production number "Mountain Town" to the cheerful anti-profanity sing-along "It's Easy, MMM Kay" to Satan's faux-Disney ballad "Up There", Parker (who wrote or cowrote all the songs) brilliantly shoots down every earnest musical from Beauty and the Beast to Les Misérables. And in advocating free speech and satirising well-meaning but misguided parental censorship groups (with a special nod to the MPAA), Bigger, Longer & Uncut hits home against adult paranoia and hypocrisy with a vengeance. And the jokes, while indeed vulgar and gross, are hysterical; we can't repeat them here, especially the lyrics to Terrance and Philip's hit song, but you'll be rolling on the floor. Don't worry, though--to paraphrase Cartman, this movie won't warp your fragile little mind unless you have something against the First Amendment. --Mark Englehart
Nils Ahlen (John McCallum), a Swedish scientist, discovers a sensational method to transform the impulse of sound into electrical power. The industrial and war potential of his discovery is enormous. His wife Helga (Mary Laura Wood) disappears with his young assistant, Sven Nystrom (Anthony Dawson) and secret parts of his invention are stolen. The Police Inspector (Jack Warner) and his force soon discover the escape route taken by the fugitives - towards the Northern frontiers. Leaving the roads and marks of man-made civilisation, both parties take to the desolate, bitter and trackless wastes where Lapp tribes and their reindeer herds eek out a precarious living. Eventually the forces of the sub-arctic tell in favours of the hunters who, in a breathtaking climax, gain their quarry. This long lost espionage film is finally available for the very first time on DVD Directed by Terence Young - director of the James Bond classics Dr No, From Russia With Love and Thunderball - and featuring a very early performance by Christopher (Scaramanga) Lee DVD CONTAINS POSTER GALLERY:LOBBY CARD GALLERY:STILLS GALLERY:ORIGINAL CAST AND CREW BIOGRAPHIES:ORIGINAL PRESS STORIES.
In Paul Verhoeven's appropriately shallow Hollow Man, Kevin Bacon plays a bad-boy egotistical scientist who heads up a double-secret government team experimenting with turning life-forms invisible. How do we know he's a bad boy? Because he (a) wears a leather overcoat, (b) compares himself to God, (c) drives a sports car and (d) spies on his comely next-door neighbour while eating Twinkies. Sadly, this is the most character development anyone gets in this undernourished action/sci-fi thriller, which boasts some phenomenal, seamless and Oscar-worthy computer effects and some amazingly ridiculous plot twists. After experimenting rather ruthlessly on a menagerie of lab animals, Bacon finally cracks the code that will turn the invisible gorillas, dogs and so on back into their visible forms, and promptly volunteers as a human guinea pig. Sure enough he is rendered invisible, organ by organ, vein by vein, and then proceeds to spy on his female co-workers in the bathroom and molest his comely next-door neighbour. Soon, Bacon is thoroughly psychotic, and it's up to Elisabeth Shue (Bacon's co-worker and ex-girlfriend) and hunky Josh Brolin (her current snuggle bunny) to defeat the invisible man, who's picking off the science team one by one. You'd think this would be a prime opportunity for copious amounts of cheesy sex and aggressive violence--which Verhoeven served up so well and so exuberantly in Starship Troopers and Basic Instinct--but if anything, the director seems to tone down the proceedings, and really, who wants a muted Paul Verhoeven movie? --Mark Englehart, Amazon.com On the DVD: In the audio commentary with director Paul Verhoeven and star Kevin Bacon, Hollow Man scriptwriter Andrew Marlowe reveals that the story had been in development for some nine years before it got made, and that he had worked on it for "a number of years". An amazing revelation, given that the main attraction of this DVD is surely the cutting-edge special effects and the fascinating behind-the-scenes deconstruction of them. The DVD viewer cannot help but wonder how anyone could have spent years on a script that looks like it was cobbled together over a weekend as an excuse to play around with some really neat CGI effects. The various documentary features on the disc break down all the key FX scenes in exhaustive detail, showing the creative blend of live action and CGI and all the painstaking methods by which it was achieved. Director Verhoeven is appropriately profiled as "Hollywood's Mad Scientist" in the "Anatomy of a Thriller" featurette (in the commentary he makes a comparison with Hitchcock's Rear Window that only serves to underline the gulf between his ambitious vision and its execution). Elsewhere, legendary composer Jerry Goldsmith provides a commentary to his music, which gives hope to fans that he will now do the same for some of his better scores. There are deleted scenes, trailers, storyboards and a really neat menu interface to round off an enjoyable DVD package. Anamorphic picture and sound quality are impeccable. --Mark Walker
It all started one night at McCool's: three unsuspecting men and one woman with a dream are brought together by lust, mayhem, DVDs, and the finer points of home decorating. Starring Liv TYler, Matt Dillon, John Goodman and Paul Reiser.
Paul a streetwise young black man talks his way into the home of Ouisa and Flan Kettredge claiming to be a friend of their children and the illegitimate son of Sidney Poitier. They soon learn that this is not the case but find getting rid of him a little difficult...
Christmas is the time for bringing people together, only for Kathleen it wasn't her family that she was stuck with across from the Christmas turkey, but two strangers stranded in her home by a winter blizzard! Usually the Christmas Grinch, Kathleen is forced to look at the festive period with news eyes after a lifetime of avoiding the Christmas spirit, having been left disheartened and disillusioned by a family tragedy. Unable to avoid the holiday any longer, Kathleen must step out from the ...
An astonishingly good David Lean double-bill featuring his two Dickensian adaptations, Great Expectations (1946) and Oliver Twist (1948), this is a reminder that cinema does not necessarily have to debase its literary sources, sometimes it can enhance them. Lean's painterly eye for evocative locations--be they windswept marshes or bustling London streets--provides the backdrop, but his focus on smaller details--the ominous tree in the graveyard with its almost human face, the reaction of Bill Sikes' dog to Nancy's murder--adds the vital ingredient that brings both place and character to life. Starring a youthful John Mills as Pip, Lean's Great Expectations is an unadulterated delight, a serendipitous gelling of screenplay, direction, cinematography and acting that produces an almost perfect film. The cast is exemplary, with Alec Guinness in his first (official) role as Pip's loyal pal Herbert Pocket; Martita Hunt is a cadaverous Miss Havisham; Finlay Currie transforms himself from truly threatening to entirely sympathetic as Magwitch; while the young Jean Simmons makes more of an impact as the girl Estella than Valerie Hobson does as the older incarnation. Perhaps best of all, though, is Francis Sullivan as the pragmatic but kindly attorney Jaggers. The cinematography alone (courtesy of Guy Green) would qualify Oliver Twist as a classic: the opening sequence of a lone woman struggling through the storm is an indelible cinematic image. Fortunately, Lean's film has many more aces up its sleeve thereafter, notably Alec Guinness' grotesque Fagin--a caricature certainly, but a three-dimensional one--and Robert Newton's utterly pitiless Bill Sikes. The skewed angles and unsettling chiaroscuro lighting transform London itself into another threatening character. --Mark Walker
Catharine (Theresa Russell) is a sultry beauty who meticulously sets her traps. Alex (Debra Winger) is a federal sleuth who just as meticulously uncovers what no one else suspects - that this femme fatale tricks wealthy men into marrying her then kills them to inherit their fortunes. Soon Alex's obsession with the mysterious Catharine draws her deeper and deeper into danger...
The subtext of Gardens of Stone, a grim, snail-paced Francis Ford Coppola film, is the death of Coppola's son Giancarlo in a boating accident. Coppola came back with this Vietnam-era military drama about the men assigned to patrol and serve at the funerals at Arlington National Cemetery. James Caan is the world-weary patrol leader with a fatherly interest in a gung-ho cadet (DB Sweeney). Caan tries to show Sweeney the potentially fatal future that awaits him if he volunteers for combat, but he can't break through his young charge's zealousness. The subplot involves crusty Caan's attempts at romance with Anjelica Huston, who can't quite fathom his contradictions. The story is all glum and lumbering, despite a warm, full-bodied performance by James Earl Jones as one of Caan's buddies.--Marshall Fine
Amanda Lemon (Mary-Kate Olsen) is a streetwise orphan who has only one person who really cares for her; Diane (Kirsty Alley) her case worker at the orphanage. Alyssa Callaway (Ashley Olsen) lives with her Father Roger (Steve Guttenberg) a fabulously successful businessman who has buried himself in his work since his wife died several years ago. So Amanda and Alyssa are two girls from totally different backgrounds but who look as identical twins. When they meet by chance they rea
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