Ant-Man Marvel Studios introduces the newest member of the Avengers: Marvel's Ant-Man. Armed with the amazing ability to shrink in scale but increase in strength, master thief Scott Lang joins forces with his new mentor Dr. Hank Pym to protect the secret behind his spectacular Ant-Man suit from ruthless villains! With humanity's fate in the balance, Pym and Lang must pull off a daring heist against insurmountable odds. This action-packed adventure takes you to new levels of pulse-pounding excitement! Ant-Man & The Wasp From the Marvel Cinematic Universe comes Ant-Man and the Wasp. Still reeling from the aftermath of Captain America: Civil War, Scott Lang is enlisted by Dr. Hank Pym for an urgent new mission. He must once again put on the suit and learn to fight alongside the Wasp as they join forces to uncover secrets from the past.
Garry Marshall (Pretty Woman) directs the screen adaptation of Terence McNally's play Frankie and Johnny at the Clair de Lune, the story of a short-order cook (Al Pacino) who drives a waitress (Michelle Pfeiffer) crazy with his adamant courtship and mixed messages. The film is okay and not much more than that, the major stumbling block being Marshall's failure to scrub away enough star veneer on Pacino and Pfeiffer to accept them as minimum-wage drones with nowhere to go but toward each other. Fortunately, Marshall's feel for the texture offered by supporting players--Hector Elizondo as a café owner, Nathan Lane as Pfeiffer's inevitably gay neighbour-buddy, Kate Nelligan as another lonely waitress--keeps things interesting enough. --Tom Keogh, Amazon.com
Everybody loves Angela but Angela's married to da mob! In a star-making performance, Michelle Pfeiffer (Scarface and The Age of Innocence) is suburban mafia housewife Angela de Marco in Jonathan Demme's hit comedy Married to the Mob. When her unfaithful husband Frank The Cucumber (Alec Baldwin, Miami Blues and Beetlejuice) is iced by his boss Tony The Tiger Russo (Dean Stockwell, Blue Velvet and Paris, Texas), Angela flees her cloistered existence on Long Island for the big city, with several interested parties in hot pursuit: Tony, who's smitten with Angela, Tony's insanely jealous wife Connie (Mercedes Ruehl, The Fisher King and The Warriors) and FBI Agent Mike Downey (Matthew Modine, Full Metal Jacket and TV's Stranger Things), who believes Angela is the key to locking Tony up for a very long time. In between the beloved screwball thriller Something Wild and the Academy Award-winning The Silence of the Lambs, acclaimed auteur Demme helmed this sublime blend of madcap shenanigans, crime and social commentary, the type of genre balancing act he perfected throughout his varied and distinctive career. Inspired equally by the comedies of Preston Sturges and the real-life crimes of John Gotti, the screenplay by Barry Strugatz and Mark R. Burns is one of the great cinematic satires of the American mafia. It's vividly brought to life by Demme, his steady creative collaborators-cinematographer Tak Fujimoto, editor Craig McKay and production designer Kristi Zea, a very game cast and a typically lights out soundtrack, featuring David Byrne, New Order, Q. Lazzarus, Debbie Harry, The Feelies, Tom Tom Club, Brian Eno and more! Married to the Mob has been restored in 2K from its original 35mm interpositive and comes loaded with a bevvy of extra features created exclusively for this edition! Product Features New 2K restoration from its 35mm interpositive A Simple Appreciation of Life, a newly filmed video interview with star Matthew Modine It Barreled into My Life, a newly filmed video interview with star Mercedes Ruehl Writing Married to the Mob, a newly filmed video interview with writers Barry Strugatz and Mark R. Burns Image gallery Theatrical trailer Newly recorded audio commentary by Danielle Henderson and Millie De Chirico of the I Saw What You Did podcast English SDH subtitles
Oscar® winners Jennifer Lawrence and Javier Bardem deliver unforgettable performances in Oscar® nominated Darren Aronofsky's praised opus. The film shattered audiences and critics around the world. It's been called gorgeous, distressing and utterly confounding (Empire) and Darren Aronofsky eclipses even his own darkest work (Time Out). Experience the visually arresting psychological thriller that will leave your heart pounding and your mind blown! Bonus Features: mother! The Downward Spiral The Makeup FX of mother!
In Disney's Maleficent: Mistress of Evil, a sequel to the 2014 global box office hit, Maleficent and her goddaughter Aurora begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies and dark new forces at play. Features Origins of the Fey Aurora's Wedding If You Had Wings Maleficent: Mistress Of Evil VFX Reel Extended Scenes - The Queen Comforts Aurora Extended Scenes - Philip And Aurora Dance Outtakes You Can't Stop The Girl Performed by Bebe Rexha
Michelle Pfeiffer and Rupert Friend engage in a passionate love affair in this lush period piece directed by Stephen Frears
Jessica Lange and Michelle Pfeiffer are quietly dazzling in this underrated adaptation of Jane Smiley's best-selling modern version of King Lear. The two play sisters of a stubborn, alcoholic Iowa farmer (Jason Robards), who decides to leave his fertile farm to them and their youngest sister (Jennifer Jason Leigh). It is a decision that rends the family, setting siblings against one another and forcing long-held secrets out of their guilty closets. The family dynamics become ever more destructive, and the refuge of sanity the two older sisters have created may be their only salvation. It's a tragedy not quite on a Shakespearean scale, but anyone who appreciates the difficulties of a dysfunctional family will relate to the heartbreak--and the promise of redemption. Pfeiffer especially is breathtaking as the good housewife Rose, whose rage at her father and her husband is never far from her placid surface. --Anne Hurley
Nearly every biblical film is ambitious, creating pictures to go with some of the most famous and sacred stories in the Western world. DreamWorks' first animated film, The Prince of Egypt was the vision of executive producer Jeffrey Katzenberg after his ugly split from Disney, where he had been acknowledged as a key architect in that studio's rebirth (The Little Mermaid, etc.). His first film for the company he helped create was a huge, challenging project without a single toy or merchandising tie-in, the backbone du jour of family entertainment in the 1990s. Three directors and 16 writers succeed in carrying out much of Katzenberg's vision. The linear story of Moses is crisply told, and the look of the film is stunning; indeed, no animated film has looked so ready to be placed in the Louvre since Fantasia. Here is an Egypt alive with energetic bustle and pristine buildings. Born a slave and set adrift in the river, Moses (voiced by Val Kilmer) is raised as the son of Pharaoh Seti (Patrick Stewart) and is a fitting rival for his stepbrother Rameses (Ralph Fiennes). When he learns of his roots--in a knockout sequence in which hieroglyphics come alive--he flees to the desert, where he finds his roots and heeds God's calling to free the slaves from Egypt. Katzenberg and his artists are careful to tread lightly on religious boundaries. The film stops at the parting of the Red Sea, only showing the Ten Commandments--without commentary--as the film's coda. Music is a big part (there were three CDs released) and Hans Zimmer's score and Stephen Schwartz's songs work well--in fact the pop-ready, Oscar-winning "When You Believe" is one of the weakest songs. Kids ages 5 and up should be able to handle the referenced violence; the film doesn't shy away from what Egyptians did to their slaves. Perhaps Katzenberg could have aimed lower and made a more successful animated film, but then again, what's a heaven for? --Doug Thomas
Vows. They're like New Year's resolutions- easy to make and impossible to live up to.
Robert Towne is one of Hollywood's most celebrated screenwriters, but because his directorial efforts have been few and far between, anticipation was high when this star-powered crime story was released in 1988. Critical reaction was decidedly mixed, but there's plenty to admire in this silky, visually seductive film about a drug dealer (Mel Gibson) whose best friend from high-school (Kurt Russell) is now working for the Los Angeles sheriff's drug detail. Their personal and professional conflicts are intensified by their love for the same woman, a waitress (Michelle Pfeiffer) at the Italian restaurant they both frequent. There's a big deal going down with a drug lord (the late Raul Julia), but as it twists and turns, Towne's story is really more about personal loyalties and individual honour. And even if it doesn't quite hold together, the movie's got a fantastic look to it (courtesy of the great cinematographer Conrad Hall), and the three stars bring depth and dimension to their well-written roles. --Jeff Shannon
NOTICE: Polish Release, cover may contain Polish text/markings. The disk has English audio.
This lushly produced fantasy has gained a loyal following since its release in 1985, and it gave a welcome boost to the careers of Matthew Broderick, Michelle Pfeiffer and Rutger Hauer. You have to ignore the overly aggressive music score by Andrew Powell, music director of the Alan Parsons Project (critic Pauline Kael aptly dubbed it "disco-medieval") and director Richard Donner's reckless allowance of anachronistic dialogue and uninspired storytelling, but there's a certain charm to the movie's combination of romance and heroism. Broderick plays a young thief who comes to the aid of tragic lovers Isabeau (Pfeiffer), who is cursed to become a hawk every day at sunrise and Navarre (Hauer) who turns into a wolf at sunset. The curse was cast by an evil sorcerer-bishop (John Wood), and as Broderick eludes the bishop's henchmen, Navarre struggles to conquer the villain, lift the curse and be reunited with his love in human form. The tragedy of this lovers' dilemma keeps the movie going, and Broderick is well cast as a young, medieval variation of Woody Allen. --Jeff Shannon
Tally Atwater (Michelle Pfeiffer) has a dream: to be a prime-time network newscaster. She pursues this dream with nothing but ambition raw talent and a homemade demo tape. Warren Justice (Robert Redford) is a brilliant hard edged veteran newsman. He sees Tally has talent and becomes her mentor. Tally’s career takes a meteoric rise and she and Warren fall in love. The romance that results is as intense and revealing as television news itself. Yet each breaking story ev
Intelligent casting, strong performances and the persuasive chemistry between Sean Connery and Michelle Pfeiffer prove the virtues in director Fred Schepisi's well-intended but problematic screen realization of this John Le Carré espionage thriller. At its best, The Russia House depicts the bittersweet nuances of the pivotal affair between a weary, alcoholic London publisher (Connery) and the mysterious Russian beauty (Pfeiffer) who sends him a fateful manuscript exposing the weaknesses beneath Soviet defence technology. Connery's Barley is a gritty, all-too-human figure who's palpably revived by his awakening feelings for Pfeiffer's wan, vulnerable Katya, whose own reciprocal emotions are equally convincing. Together, they weave a poignant romantic duet. The problems, meanwhile, emanate from the story line that brings these opposites together. Le Carré's novels are absorbing but typically internal odysseys that seldom offer the level of straightforward action or simple arcs of plot that the big screen thrives on. For The Russia House, written as glasnost eclipsed the cold war's overt rivalries, Le Carré means to measure how old adversaries must calibrate their battle to a more subtle, subdued match of wits. Barley himself becomes enmeshed in the mystery of the manuscript because British intelligence chooses to use him as cat's paw rather than become directly involved. Such subtlety may be a more realistic take on the spy games of the recent past but it makes for an often tedious, talky alternative to taut heroics that Connery codified in his most celebrated early espionage role. If the suspense thus suffers, we're still left with an affecting love story, as well as some convincing sniping between British and US intelligence operatives, beautifully cast with James Fox, Roy Scheider and John Mahoney. Veteran playwright Tom Stoppard brings considerable style to the dialogue, without solving the problem of giving us more than those verbal exchanges to sustain dramatic interest. --Sam Sutherland
Steve Kloves' impressive highly entertaining directorial debut centres on the Baker Boys (played by real-life brothers Jeff and Beau Bridges) siblings who have a two-piano act that plays at Seattle's downbeat cocktail lounges. Jack (Jeff Bridges) is a bitter loner whose ambition is to be a jazz musician while Frank (Beau Bridges) is a family man content to spend his days giving piano lessons and playing pop tunes with his brother. Their act needs some new blood. Enter Susie Diamond (Michelle Pfeiffer) a tough cynical former hooker whose presence immediately revives the act. It also complicates matters when Jacks falls for her. Strong performances a great script wonderful music and Michelle Pfeiffer at her absolute sexiest.
Beth Cappadora (Michelle Pfeiffer) is at her high school reunion when her three-year-old son disappears from his brother's care. The little boy never turns up, and the family has to deal with the devastating guilt and grief that goes along with it. Nine years later, the family has relocated to Chicago. By a sheer fluke, the kid turns up, living no more than two blocks away. The authorities swoop down and return the kid to his biological parents, but things are far from being that simple. The boy grew up around what he has called his father, while his new family are strangers to him; the older son, now a teenager, has brushes with the law and behavioural problems. His adjustment to his lost brother is complicated by normal teenage churlishness, and the dad (Treat Williams) seems to expect everything to fall into place as though the family had been intact all along. It's a tightrope routine for actors in a story like this, being careful not to chew the scenery while at the same time not being too flaccid or understated. For the most part, the members of the cast deal well with the emotional complexity of their roles. Though the story stretches credulity, weirder things do happen in the real world. The family's pain for the first half of the film is certainly credible, though the second half almost seems like a different movie. Whoopi Goldberg plays the detective assigned to the case; casting her is a bit of a stretch, but she makes it work. All in all, a decent three-hanky movie in the vein of Ordinary People. --Jerry Renshaw, Amazon.com
This lushly produced fantasy has gained a loyal following since its release in 1985, and it gave a welcome boost to the careers of Matthew Broderick, Michelle Pfeiffer and Rutger Hauer. You have to ignore the overly aggressive music score by Andrew Powell, music director of the Alan Parsons Project (critic Pauline Kael aptly dubbed it "disco-medieval") and director Richard Donner's reckless allowance of anachronistic dialogue and uninspired storytelling, but there's a certain charm to the movie's combination of romance and heroism. Broderick plays a young thief who comes to the aid of tragic lovers Isabeau (Pfeiffer), who is cursed to become a hawk every day at sunrise and Navarre (Hauer) who turns into a wolf at sunset. The curse was cast by an evil sorcerer-bishop (John Wood), and as Broderick eludes the bishop's henchmen, Navarre struggles to conquer the villain, lift the curse and be reunited with his love in human form. The tragedy of this lovers' dilemma keeps the movie going, and Broderick is well cast as a young, medieval variation of Woody Allen. --Jeff Shannon
Released on Blu-Ray for the first time, Into the Night is a 1985 American comedy-thriller film directed by John Landis, starring Jeff Goldblum and Michelle Pfeiffer. The film is notable for a large number of cameo appearances made by various filmmakers and directors, including Landis himself. The soundtrack features the songs Into the Night , In the Midnight Hour and Lucille , performed by B.B. King. When two strangers stumble into international intrigue in the middle of a Los Angeles night, anything can happen and does, in this zany comedy directed by John Landis. Ed Orkin (Jeff Goldblum) is an insomniac with a cheating wife and a dull job. His chances for excitement look hopeless until a mysterious blond named Diana (Michelle Pfeiffer) drops onto the hood of his car. Now it's Ed's turn for some adventure and romance as Diana leads him on a merry and murderous chase where the payoff could be dollars or death. The outstanding cast includes David Bowie, Vera Miles, Dan Aykroyd and a host of Hollywood's hottest directors in cameos. It's a night on the town you'll never live down!
Grease Is The Word! The classic tale of good girl Sandy (Olivia Newton-John) and bad boy Danny (John Travolta) gets tuned up with new special features in this Grease: Exclusive 40th Anniversary Edition. Your favourite movie musical just gets better with time! Features: Commentary by Director Randal Kleiser and Choreographer Patricia Birch Introduction by Randal Kleiser Rydell Sing-Along The Time, The Place, The Motion: Remembering Grease Grease: A Chicago Story Deleted/Extended/Alternate Scenes with Introduction by Randal Kleiser Grease Reunion 2002 - DVD Launch Party Grease Memories from John and Olivia The Moves Behind the Music Thunder Roadsters John Travolta and Allan Carr Grease Day Interview Olivia Newton-John and Robert Stigwood Grease Day Interview Photo Galleries
It's 1961 two years after the original gang graduated from Rydell High and there's a new crop of seniors. The Pink Ladies and the T-Birds are still the epitome of cool except that over the summer something's happened to Stephanie the sorority leader. She feels she's outgrown Johnny the head T-Bird and is looking for a new love - one who's even more cool and whose bike is even hotter. Meanwhile newcomer Michael is smitten with Stephanie who won't even notice him... The conflict is on and the Rydell High fun takes off to new heights.
Please wait. Loading...
This site uses cookies.
More details in our privacy policy