In Blumhouse's Fantasy Island, the enigmatic Mr. Roarke makes the secret dreams of his lucky quests come true at a luxurious but remote tropical resort. But when the fantasies turn into nightmares, the guests have to solve the island's mystery in order to escape with their lives.
It's more than 40 years since their classic crime capers in The Lady Vanishes, Night Train to Munich and It's Not Cricket. The gentlemen-sleuth duo may be retired but they still forgo their Friday lunch to investigate a new murder mystery. Caldicott (Michael Aldridge) lives in splendid luxury at Viceroy Court, Marylebone, while Charters (Robin Bailey) resides in leafy Reigate and as ever they meet at their posh Pall Mall club. When the body of an old friend's daughter is found in Caldicott's flat, the pair forgo their regular Friday lunch to solve the crime. The mystery deepens, though, when Charters receives a phone call from the supposedly dead girl! Over the six entertaining episodes the plot thickens as the case is linked to a cargo of gold on a sunken German WWII U-Boat. And from there the excitement builds to a thrilling climax at Lord's Cricket Ground both on and off the pitch!
Set against the backdrop of 1950s New York, Motherless Brooklyn follows Lionel Essrog (Edward Norton), a lonely private detective afflicted with Tourette's Syndrome, as he ventures to solve the murder of his mentor and only friend, Frank Minna (Bruce Willis). Armed only with a few clues and the powerful engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York's power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honour his friend and save the woman who might be his own salvation.
Casting a fresh look on a timeless legend this exciting action-packed update of the DC Comic Superman captures the daring exploits of the mysterious visitor from another planet and brings the city of Metropolis to life. Originally airing on TV in the 1990s this humorously romantic action/adventure series puts a modern twist on the time-honored legendary superhero bringing to life the comic book characters Clark Kent (Dean Cain) his superhuman alter-ego Superman and Lois Lane (
That rarest of rare treasures, Monty Python's Life of Brian is both achingly funny and seriously satirical without ever allowing one to overbalance the other. There is not a single joke, sight gag or one-liner that will not forever burn itself into the viewer's memory as being just as funny as it is possible to be, but, extraordinarily, almost every line and every indestructibly hilarious scene also serves a dual purpose, making this one of the most consistently sustained film satires ever made. Like all great satire, the Pythons not only attack and vilify their targets (the bigotry and hypocrisy of organised religion and politics) supremely well, they also propose an alternative: be an individual, think for yourself, don't be led by others. "You've all got to work it out for yourselves", cries Brian in a key moment. "Yes, we've all got to work it our for ourselves", the crowd reply en masse, "Tell us more". Two thousand years later, in a world still blighted by religious zealots, Brian's is still a lone voice crying in the wilderness. Aside from being a neat spoof on the Hollywood epic, it's also almost incidentally one of the most realistic on-screen depictions of the ancient world--instead of treating their characters as posturing historical stereotypes, the Pythons realised what no sword 'n' sandal epic ever has: that people are all the same, no matter what period of history they live in. People always have and always will bicker, lie, cheat, swear, conceal cowardice with bravado (like Reg, leader of the People's Front of Judea), abuse power (like Pontius Pilate), blindly follow the latest fads and giggle at silly things ("Biggus Dickus"). In the end, Life of Brian teaches us that the only way for a despairing individual to cope in a world of idiocy and hypocrisy is to always look on the bright side of life. --Mark Walker
With a remarkable cast headlined by Ian Carmichael, Richard Attenborough, Dennis Price and Terry Thomas, WWII army comedy Private's Progress was one of the major British hits of 1956. Carmichael is Stanley Windrush, a naïve young soldier who during training falls in with the streetwise Private Cox (Attenborough). Windrush's uncle is the even more ambitiously corrupt Colonel Tracepurcel (Price), who plans to divert the war effort to liberate art treasures already looted by the Germans. The first half of the film is quite pedestrian, though the pace picks up considerably once the heist gets underway, and the cheery tone masks a really rather dark and cynical heart. Carmichael's innocent abroad quickly wears thin, but Attenborough and Price steal the film, as well as the paintings, with typically excellent turns. With a nod in the direction of Ealing's The Ladykillers (1955) the film also anticipates the attitudes of both The League of Gentlemen (1959) and Joseph Heller's novel Catch 22 (1961), though lacks the latter's greater sophistication. The cast also contains such British stalwarts as William Hartnell, Peter Jones, Ian Bannen, John Le Mesurier, Christopher Lee and David Lodge, and was sufficiently popular to reunite all the major players for the superior sequel, I'm Alright Jack (1959). On the DVD: Private's Progress is presented in black and white at 4:3 Academy ratio, though the film appears to have been shot full frame and then unmasked for home viewing so there is more top and bottom to the images than at the cinema. The print used shows constant minor damage and is quite grainy, though no more than expected for a low-budget film of the time. The mono sound is average and unremarkable, and there are no special features. --Gary S Dalkin
Although the superhero comic book has been a duopoly since the early 1960s, only DC's flagship characters, Superman and Batman (who originated in the late 1930s) have established themselves as big-screen franchises. Until now--this is the first runaway hit film version of the alternative superhero X-Men universe created for Marvel Comics by Stan Lee, Jack Kirby and others. It's a rare comic-book movie that doesn't fall over its cape introducing all the characters, and this is the exception. X-Men drops us into a world that is closer to our own than Batman's Gotham City, but it's still home to super-powered goodies and baddies. Opening in high seriousness with paranormal activity in a WW2 concentration camp and a senatorial inquiry into the growing "mutant problem", Bryan Singer's film sets up a complex background with economy and establishes vivid, strange characters well before we get to the fun. There's Halle Berry flying and summoning snowstorms, James Marsden zapping people with his "optic beams", Rebecca Romijn-Stamos shape-shifting her blue naked form, and Ray Park lashing out with his Toad-tongue. The big conflict is between Patrick Stewart's Professor X and Ian McKellen's Magneto, super-powerful mutants who disagree about their relationship with ordinary humans, but the characters we're meant to identify with are Hugh Jackman's Wolverine (who has retractable claws and amnesia), and Anna Paquin's Rogue (who sucks the life and superpowers out of anyone she touches). The plot has to do with a big gizmo that will wreak havoc at a gathering of world leaders, but the film is more interested in setting up a tangle of bizarre relationships between even more bizarre people, with solid pros such as Stewart and McKellen relishing their sly dialogue and the newcomers strutting their stuff in cool leather outfits. There are in-jokes enough to keep comics' fans engaged, but it feels more like a science fiction movie than a superhero picture. --Kim Newman
Monty Python: Not The Messiah (He's A Very Naughty Boy)
Written by and starring Michael Palin and Terry Jones The Complete and Utter History of Britain was among a handful of series that formed a template for Monty Python's Flying Circus. This series offered a typically Pythonesque look at British history - as if television had been around to cover events as they unfolded. Thus we find Richard the Lionheart relating his exploits in the Crusades in the manner of a laddish holidaymaker and William the Conquerer engaging in post-match analysis (following an unspectacular scuffle in which King Harold is finally felled by a baguette). Studio sketches and filmed inserts are interspersed with the meandering insights of historian Professor Weaver (Roddy Maude-Roxby) with links by faintly bemused continuity presenter Colin Gordon. Sadly incomplete in the archives this set contains all remaining episodes along with the film inserts which Terry Jones has kept safe for nearly fifty years.
From Executive Producer Quentin Tarantino and Writer, Director, Producer and star Larry Bishop comes this lean, mean mayhem machine, fully loaded with the three B's: bikers, beer and booty! Out on DVD and Blu-ray on October 12.
God Save The Queen ; Big Country - In The Big Country ; Suzanne Vega - Marlene On The Wall ; Level 42 - Hot Water ; Elton John - Your Song ; Phil Collins - In The Air Tonight ; Tina Turner - Better Be Good To Me ; Eric Clapton And Tina Turner - Tearing Us Apart ; Midge Ure - Call Of The Wild ; Mark Knopfler and Sting - Money For Nothing ; Paul Young - Every Time You Go Away ; Joan Armatrading - Reach Out ; Howard Jones - No One Is To Blame ; Rod Stewart - Sailing ; Elton John - I'm Still Standing ; Paul Young And George Michael - Every Time You Go Away ; Paul McCartney And Ensemble - Long Tall Sally ; Paul McCartney And Ensemble - Get Back.
Commencing a risky game of cat and mouse with corrupt D.A. Martin Hunter (Michael Douglas), ambitious reporter C.J. (Jesse Metcalfe) frames himself as a murder suspect to catch Hunter in the act!
A homicide detective with a checkered past hunts for a sadistic serial killer who mutilates his victims' bodies and fashions them into horrific snowmen.
This unassuming case is packed with The Complete Monty Python's Flying Circus, featuring every madcap episode from the programme's tenure. While to the uninitiated they may look like ordinary .65 oz. digital video discs, due to the unique physics of comedy (it's like quantum but with fewer dead cats), each disc actually weighs a full metaphoric ton! Please remember to lift with your knees. Includes all the classic sketches: The Funniest Joke in the World, the Wrestling Episode, Nudg...
Taken from a long-running DC Comics strip, Wonder Woman was made into a popular television series between 1978 and 1981, starring former Miss America, Lynda Carter. Capturing the hearts of TV audiences with her sexy outfit as much as her superheroine abilities, Wonder Woman quickly became a kitsch icon, battling the forces of evil with the unforgettably camp "garb of justice", including bullet-proof bangles, a golden lasso and the belt of strength built into her corset. She had an invisible plane, too. Originally Princess Diana of Paradise Island (an uncharted land of Amazon women in the Bermuda Triangle), Wonder Woman is sent as an emissary to the outside world to protect the human race from the forces of evil. And so she becomes Diana Prince, the geeky, bespectacled assistant to Steve Trevor of the Inter Agency Defence Command in Washington, whose father she assisted against the Nazis in the 1940s. --Laura Bushell
The venerable Superman mythos gets a 21st-century updating in the imaginative and engaging TV series Smallville. The premise of the show--Superman as a teenager--takes up just a few pages in Superman's very first comic-book appearance (in Action Comics back in 1938), but producers Alfred Gough and Miles Millar flesh out that period by portraying young Clark Kent (Tom Welling) not as the noble Superman-in-waiting, but as an average teen with some not-so-ordinary supernatural powers, including incredible strength and heat vision (Clark hasn't lifted up, up, and away as of yet). Clark's desire to fit in with his peers and make sense of his extraordinary abilities grounds him in very realistic and identifiable terms for the series' primarily under-25 audience, as does his appealing and tentative romance with Kristen Kreuk as Clark's dreamgirl Lana Lang. But Smallville also strikes gold when it takes a turn towards more comic-book territory, as evidenced by the parade of shape-shifting killers and other outlandish antagonists (many generated, in one of the series' most ingenious notions, by the same devastating meteor shower that brought the infant Clark to Earth) that Clark must harness his powers to face and defeat. Gough and Millar, along with their capable cast (which includes Michael Rosenbaum as a young and already bald-pated Lex Luthor, and Annette O'Toole and John Schneider as the Kents) manage to pull off the precarious high-wire act of combining science fiction with coming-of-age drama to create this highly watchable programme. --Paul Gaita
Set against the backdrop of 1950s New York, Motherless Brooklyn follows Lionel Essrog (Edward Norton), a lonely private detective afflicted with Tourette's Syndrome, as he ventures to solve the murder of his mentor and only friend, Frank Minna (Bruce Willis). Armed only with a few clues and the powerful engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York's power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honour his friend and save the woman who might be his own salvation.
An adaptation of one of the most successful and unusual musicals of all time. A group of Broadway hopefuls auditioning for a place in the chorus line of a new show relate the stories of their lives -- their disappointments their dreams and the professional rejections and successes. Among the dancers trying to make the grade is the director's former lover a woman who once made it big and now would be grateful just to dance in the chorus.
Oscar-winning director Ron Howard brings to the screen writer Peter Morgan's electrifying battle between Richard Nixon, the disgraced president with a legacy to save, and David Frost, a jet-setting television personality with a name to make.
In School for Scoundrels wimpy Ian Carmichael wants to impress girls and get one over on all-round show-off and cad Terry Thomas (playing gloriously to type). Discovering Alastair Simms' unorthodox school Carmichael happily enrols and learns the quaint tricks of the day for securing the admiration of a fair lady. Ultimately as a star pupil he teaches the Master a thing or two about true love when everything turns out just fine in the end. Appealing to all male sensibilities is the idea of a magical set of simple rules for winning someone's affections. Set in the tweed-rich environment of an English boarding school makes this an even quainter notion. To watch this classic comedy is to cock one's snoot at womanisers everywhere while unavoidably making a mental list of anything that might actually work! The three central performances are brilliantly realised, particularly the role reversal between Carmichael and Thomas. Try playing a tennis match after a viewing without calling "hard cheese". -Paul Tonks
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