Prepare to experience all new spellbinding suspense and paranormal adventures as Johnny Smith (Anthony Michael Hall) faces the greatest challenges of his psychically altered existence in the sixth and final season of this intense thriller based on the story and characters from sci-fi master Stephen King.
""Weird"" Al Yankovic the man responsible for ""Eat it"" the famous 80's parody of Michael Jackson's ""Beat it"" co-wrote and stars in MGM Home Entertainment's cult comedy U.H.F. Aside from Yankovic playing most of the characters in the film David Bowe Michael Richards Fran Drescher and Kevin McCarthy also appear in this inspired comedy which is packed full of gags film parodies music satire and tons of laughs. Opening with an hilarious parody of the starting sequence
A young doctor applies for a surgical position at a Manchester hospital and is romantically distracted by the hiring consultant who is beautifull sophistcated and unfortunately married to one of the senior doctors. The attraction is mutual and the two begin a torrid affair.
Honor. Duty. Respect. These three military traditions are in jeopardy at a British regiment stationed in colonial India at the end of the nineteenth century. A new recruit is charged with dishonorable conduct when a beautiful widow (Susannah York) is attacked. In an attempt to prevent a public court-martial the superior officers (Richard Attenborough Stacy Keach and Christopher Plummer) set up an internal hearing. Can an idealistic young officer (Michael York) defend the a
Join a star-studded audience in an evening of laughter with one of Britain's best-loved quick-fire comedians the late Bob Monkhouse.
Your Fear Will Speak For Itself... Walter Richmond (Hurt) is in Amsterdam with his beautiful wife Cathryn (Tilly) and their daughter Melissa to close a business deal worth millions. But in a bizarre twist Melissa who is mute witnesses a grisly murder. Now she must stay one step ahead of the perpetrators until Walter and Cathryn piece together the puzzle behind the disappearance of their lost daughter and find her before it's too late...
Hal, Tom and Alex are three housemates with some serious issues on their hands, and they're not all about the washing up rota. Hal (Damien Molony) is a 500 year-old vampire, Tom (Michael Socha) is a hardened werewolf and Alex (Kate Bracken) has recently had the misfortune of becoming a ghost. But threat lurks around every corner. There is the volatile and deluded Crumb (Colin Hoult) - a newly recruited vampire, and the sinister Mr Rook (Steven Robertson) - head of a secret government department. With bills to be paid, our heroes take jobs in Barry's kitschest hotel, but alongside the flock wallpaper and the cocktail umbrellas dwells an evil greater than anything faced before. On the face of it, Captain Hatch (Phil Davis) is just another foul-mouthed decrepit old man but he hides a dark secret that threatens not only our heroes' friendships but the entire world.
Jody is the kind of guy that every 1970s teen looked up to. He's in his early 20s, has a cool car, splendid 1970s hair, a leather jacket, plays guitar and (naturally) snags all the girls. His little brother, Mike, in particular, admires him and emulates him at every turn. Things start to go astray, however, when the two brothers and their friend Reggie attend a funeral for a friend. Mike notices a tall man working at the funeral home; in the course of his snooping, he sees the tall man put a loaded coffin into the back of a hearse as easily as if it was a shoebox. Jody doesn't believe his little brother's stories, though, until he brings home the tall man's severed finger, still wriggling in what appears to be French's mustard. From there, the film picks up a terrific momentum that doesn't let up until the sequel-ripe twist ending. Phantasm was one of the first horror movies to break the unspoken rule that victims were supposed to scream, fall down and cower until they were killed. Instead, Mike and Jody are resourceful and smart, aggressively pursuing the evil inside the funeral home with a shotgun and Colt pistol. Furthermore, the script has a great deal of character development, especially in the relationship between the two brothers. The film even has a surprisingly glossy look, despite its low-budget origins, and little outright gore (except for the infamous steel spheres that drill into victims' heads). This drive-in favourite was a big success at the time of its release, and spawned three sequels. Little wonder; it includes an inventive story, likeable characters, a runaway pace and, of course, evil dwarves cloaked in Army blankets. The end result is one of the better horror films of the late 1970s. Hot-rod fans take note: Jody drives a Plymouth Hemi 'Cuda, the pinnacle of 1960s muscle cars, rounding out his status as a Cool Guy. --Jerry Renshaw
There can be few better ways reminding oneself of the key elements in late 1990s left-of-centre Hollywood than watching Feeling Minnesota. The film attempts to draw together most of the main themes from the post-Pulp Fiction world into one whole. The story--young lovers Freddie and Jjacks (sic) on the run from a criminal past--is pure True Romance, with an attempt to throw in a little Cohen brothers' style weirdness. It's not a bad film--how can any film that opens with a Johnny Cash tune not have some degree of style to it?--just one that misses that certain spark. The casting of Diaz and Reeves is hopelessly mismatched, the former's delightfully light touch during the film's many funny moments merely serving to heighten Reeves' clod hopping. He is slightly better when playing opposite brother and husband to Freddie Sam (Vincent D'Onofrio), but is unavoidably the film's weak link. It can't be denied that by pushing all the relevant buttons, Feeling Minnesota manages to provide a couple of hours of reasonably engrossing entertainment but, like the Bob Dylan version of "Ring of Fire" that closes the film, the originals are still the best. On the DVD: The de rigeur credible rock soundtrack is given extra sparkle by the DVD's audio quality, but the extras available are slight. The "making-of" featurette offers little more than one of those infuriating extended adverts that are passed off as film documentaries, while the cast interview section is presented in a series of a few second answers to a succession of uninspiring questions. --Phil Udell
A man searches for the truth about his son's death in Northern Ireland.
Like any good brand, the Rolling Stones know to preserve the formula even when updating the package, and this long-form concert video underscores that market strategy. As with each of their tours since the early 1980s, the quartet, augmented by a discreet auxiliary of backup musicians, gives the fans new eye-candy while dishing up a familiar set list spiked with Mick Jagger's lip-smacking vocals and Keith Richards' signature guitar riffs. The visual twists are at once spectacular and conservative: a cyclopean main stage design with massive pillars (presumably the Babylonian connection), a vast oval video screen (shades of Big Brother), and a hydraulic bridge enabling a mid-concert sortie into the audience, with the Stones playing a more stripped-down, intimate set on a small satellite stage. That huge physical setting doubtless made the live shows eye-filling rock spectacles, but the video crew necessarily accepts the limitations of the small screen, focusing more on close-ups of the band, rapid cuts, and racing, hand-held tracking shots to convey excitement while keeping the viewer close to the action. The evening's repertoire sticks to the band's most familiar hits, and if the Glimmer Twins occasionally slip their masks to let the routine show, the real wonder is how effectively they keep the playing focused. During the first half of the programme, the band's newest songs (especially "Saint of Me" and "Out of Control") elicit conspicuously higher energy from the band, if not the audience. But just as the show seems doomed to a certain anonymity, the escape onto the smaller, no-frills stage pumps up players and crowd alike, particularly when they launch into "Like a Rolling Stone", a cover that winds up sounding like a great idea too long deferred. --Sam Sutherland, Amazon.com
After the break up of her marriage photographer Samantha Taylor retreats to the sanctuary of friend Caroline Lord's California ranch. An excellent rider Samantha is initially given a frosty welcome by the ranch hands but she begins to gain their respect as they see that she is more than able on a horse and in their environment. Samantha falls in love with ranch hand Tate Jordan and they share a deep and passionate love until Tate finds out that Samantha's ex-husband is popular and wealthy news anchor Warren Taylor. Ashamed by his profession and his 'status' he leaves the ranch. Samantha is heartbroken once again and tries to assuage her pain by embarking on a project photographing the 'real' cowboys of the west. Whilst visiting a ranch in California Samantha breaks her back in an accident and is paralysed and must learn how to walk - and ride - again. Caroline Lord tragically dies but leaves her ranch to Samantha who turns it into a riding school for paralysed children. Through this enterprise she begins to heal from the pain of Tate's desertion the loss of her friend and her own paralysis. Tate returns to the ranch after hearing of Caroline's death and finds Samantha there. Can they both overcome their own demons and learn to love each other again?
A 4 DVD box set comprising of 19 film adaptations of plays by Samuel Beckett. Includes: 1. Waiting for Godot (director Michael Lindsay-Hogg) 2. Not I (director Neil Jordan) 3. Rough for Theatre I (director Kieron J Walsh) 4. Ohio Impromptu (director Charles Sturridge) 5. Krapp's Last Tape (director Atom Egoyan) 6. What Where (director Damien O'Donnell) 7. Footfalls (director Walter Asmus) 8. Come and Go (director John Crowley) 9. Act Without Words I (director Karel Reisz) 10. Happy
There's one in every family! Meet Mike Donnelly (Chris Farley). He's one lovable hilarious accident waiting to happen. Dedicated to helping his big brother Al (Tim Matheson) win the race for Washington State Governor he turns every opportunity for votes into an embarrassing disaster. Campaign aide and super slacker Steve Dobbs (David Spade) volunteers to baby-sit Mike. Big mistake! When Mike discovers that the incumbent governor is a crook he dives headfirst into a whole new
Elektra From the pages of Marvel Comics creator of 'X-Men' and 'Spider-Man' comes 'Elektra'. In the ultimate battle between good and evil stands a warrior who makes the choice that tips the balance... Elektra (Garner) is a strong mysterious and sexy action heroine; a lethal synthesis of grace and power. Not long after recovering from seemingly mortal wounds Elektra has severed all ties with the world living only for her next assignment. But in an unexpected turn of events
The Game (Dir. David Fincher 1997): Nicholas Van Orton (Michael Douglas) is a shrewdly successful businessman who is accustomed to being in control of each facet of his investments and relationships. His well-ordered life undergoes a profound change however when his brother Conrad (Sean Penn) gives him an unexpected birthday gift that soon has devastating consequences. There are no rules in The Game. The Gingerbread Man (Dir. Robert Altman 1997): Successful Savannah lawyer Rick Magruder (Kenneth Branagh) becomes obsessed with a mysterious seductive waitress Mallory Doss (Embeth Davidtz) who is being stalked by her fundamentalist father Dixon Doss (Robert Duvall). When Magruder tries to protect Mallory he is drawn into a web of deceit and danger his life falling apart as he peels away the layers of intrigue and mystery that surround her.
Party Time
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