Hotshot rookie race car Lightning McQueen learns a valuable life lesson in Pixar's latest animated adventure.
Made in 1987, Mannequin represents everything that was naff about late-80s Hollywood: from its bland, boxy, electro-rock soundtrack to its sub-Sarah Ferguson fashion sense to its tawdry sets, flimsy characterisation and cheap slapstick humour (including the mandatory amusing dog). It might be centuries before its radioactive awfulness dies down enough to make it watchable, even as kitsch. Mannequin is notionally a romantic comedy in which Andrew McCarthy plays a luckless department store employee and Kim (Sex and the City) Cattrall is an Egyptian Princess reincarnated as a shop window dummy, who comes to life when she encounters McCarthy, only to revert to mannequin status when anyone but McCarthy is watching her. With her encouragement, he becomes emboldened in his career as a window decorator as well as falling in love with the Princess. James Spader's oily, stammery executive is just one of the many examples of a film that tries way too hard to be funny, the sort of characterisation that would be barely adequate for a comic TV ad, let alone a 90-minute movie. Still, for fans of Sex and the City who might want to feast upon the spectacle of a younger Kim Cattrall, Mannequin might offer a measure of relief. On DVD: Mannequin on disc has just the original trailer as an extra, while no amount of DVD enhancement can conceal the tawdry feel of this movie. --David Stubbs
From the Oscar winning director of 'American Beauty' comes a '30s gangster tale with Tom Hanks as Michael Sullivan, a hit man for an Irish gang in the Midwest during the Depression.
Miss Emmeline Lucas known universally to her friends as Lucia is a dreadful snob but in Miss Elizabeth Mapp of Mallards Lucia meets her match. On the surface they are the most genteel of society ladies but beneath the veneer of politeness and etiquette lies a bitter and seething malice. There is no plan too devious no plot too cunning no depths to which they would not sink in order to win the battle for social supremacy. Using their deadly weapons of garden parties bridge eve
They're bigger than the Loch Ness monster! Ronnie and Will two lads from Edinburgh embark on a non-violent spree of robberies. Dressing up in bizarre costumes the duo act as modern highwaymen robbing coach loads of tourists in the Highlands; eventually earning them the tag the Clown and the Wolfman. In the process they become folk heroes to the locals. Their adventures make for a whimsical and gentle comedy in the Bill Forsyth vein.
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
Dating from 1969, Butch Cassidy and the Sundance Kid has never lost its popularity or its unusual appeal as a star-driven Western that tinkers with the genre's conventions and comes up with something both terrifically entertaining and--typical of its period--a tad paranoid. Paul Newman plays the legendary outlaw Butch Cassidy as an eternal optimist and self-styled visionary, conjuring dreams of banks just ripe for the picking all over the world. Robert Redford is his more level-headed partner, the sharp-shooting Sundance Kid. The film, written by William Goldman (The Princess Bride) and directed by George Roy Hill (The Sting), basically begins as a freewheeling story about robbing trains but soon becomes a chase as a relentless posse--always seen at a great distance like some remote authority--forces Butch and Sundance into the hills and, finally, Bolivia. Weakened a little by feel-good inclinations (a scene involving bicycle tricks and the song "Raindrops Keep Falling on My Head" is sort of Hollywood flower power), the film maintains an interesting tautness, and the chemistry between Redford and Newman is rare. (A factoid: Newman first offered the Sundance part to Jack Lemmon.) --Tom Keogh, Amazon.com On the DVD: This anamorphic widescreen print of the 2.35:1 Panavision original looks marvellously crisp, highlighting the sepia tinting and washed-out, over-exposed look of the film nicely and making the best of the deep focus cinematography. The mono soundtrack sounds clean and clear in Dolby 2.0. The commentary track is hosted by documentary-maker Robert Crawford with contributions from George Roy Hill, cinematographer Conrad Hall, and lyricist Hal David (who chips in during the "Raindrops" sequence). The 40-minute documentary dates from 1968 and is narrated by director Hill, who talks in detail about the making-of process, comments on his relationship with the three principals (Katharine Ross was the difficult one apparently), and adds little nuggets such as how they sprayed the bull's testicles to make him charge at the end of the bicycle scene. Also included are a series of absorbing 1994 interviews with all the main players: Newman, Redford, Ross, writer William Goldman, and composer Burt Bacharach. Trailers, Production Notes and an Alternate Credit Roll complete an attractive package. --Mark Walker
Three kids who must do battle with a mysterious and spooky house in this animated adventure.
Winner of seven Academy Awards including Best Picture, Director, and Screenplay, this critical and box-office hit from 1973 provided a perfect reunion for director George Roy Hill and stars Paul Newman and Robert Redford, who had previously delighted audiences with Butch Cassidy and the Sundance Kid in 1969. Set in 1936, The Sting features a pair of Chicago con artists (Newman and Redford) who find themselves in a high-stakes game against the master of all cheating mobsters (Robert Shaw) when they set out to avenge the murder of a mutual friend and partner. Using a bogus bookie joint as a front for their con of all cons, the two feel the heat from the Chicago Mob on one side and encroaching police on the other. But in a plot that contains more twists than a treacherous mountain road, the ultimate scam is pulled off with consummate style and panache. It's an added bonus that Newman and Redford were box-office kings at the top of their game, and while Shaw broods intensely as the Runyon-esque villain, The Sting is further blessed by a host of great supporting players including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. Thanks to the flavourful music score by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently on the soundtrack. One of the most entertaining movies of the early 1970s, The Sting is a welcome throwback to Hollywood's golden age of the 30s that hasn't lost any of its popular charm. --Jeff Shannon, Amazon.com
Disaster movies used to work because there was little certainty as to who would survive. Not so in this film, really an amalgam of two original stories, about a group of well-to-do celebrants at the top floor of a skyscraper. Cheapo electrical wiring and bad construction management cause an enormous blaze at the lower floors, steadily rising to consume the revellers. Newman's an architect, McQueen a firefighter and Fred Astaire a kind old gentleman, for which he was Oscar-nominated. OJ Simpson plays a security guard who rescues a cat. Now that's a disaster. -- Keith Simanton, Amazon.com
His crime: nonconformity. His sentence: the chain gang. Now you can own the Director's Cut of the 1967 classic Cool Hand Luke in which Paul Newman plays one of his best-loved roles as the loner who won't or can't conform to the arbitrary rules of his captivity. A cast of fine character actors including George Kennedy in his Academy Award-winning role of Dragline gives Newman solid support as fellow prisoners. And Strother Martin is the Captain who taunts Luke with the famous line '""What we've got here is...failure to communicate."" No failure here. With rich humour and vibrant storytelling power 'Cool Hand Luke' succeeds resoundingly.
When attorney Frank Calvin (Newman) is given an open-and-shut medical malpractice case that no one thinks he can win he courageously decides to refuse a settlement from the hospital. Instead he takes the case and the entire legal system to court... Sidney Lumet's riveting courtroom drama earned five Oscar nominations including Best Picture and Best Actor for Paul Newman's towering performance as a down-and-out alcoholic who stumbles onto one last chance to redeem himself.
The Wrong Arm of the Law is a 1963 British comedy directed by Cliff Owen and starring Peter Sellers, Bernard Cribbins, Lionel Jeffries, John Le Mesurier and Bill Kerr. In London, a gang of criminals from Australia led by Jack Coombes (Bill Kerr) impersonate policemen to carry out robberies. Local gang leader Pearly Gates (Sellers), who operates from the cover of a French couturier, finds his takings cut severely, and blames rival crook Nervous O'Toole (Bernard Cribbins). When it emerges they are both being scammed by the same gang, they join forces, along with Lionel Jeffries' Police Inspector Nosey Parker, to bring the so-called I.P.O. mob (I.P.O. - Impersonating a Police Officer) to justice. Product Features The Long Arm of the Screenwriter - John Antrobus Remembers The Wrong Arm of The Law Behind the Scenes stills gallery Original Trailer
The Chase. The Desert. The Shack. The Girl. The Roadblock. The End. One man races against time against destiny against the road: the ultimate car chase movie. Kowalski is the last American hero. He's the lone stranger - a modern cowboy in a white Dodge Challenger who bets that he can drive from Denver to San Francisco in fifteen hours. Loaded with amphetamines and a full tank he takes to the open highway. In his supercharged Challenger he breaks through every speed trap dragnet
Otto Preminger's 1960 adaptation of Leon Uris's novel Exodus is a sprawling tale of the founding of modern Israel, starring Paul Newman as a resistance leader. The film works best as an example of Preminger's estimable skill with all levels of drama and action, but as a reflection upon history it is compromised by stereotypes, unpersuasive relationships and a certain moral ambivalence about issues related to the subject. There are good and exciting sequences, however, particularly one involving an effort to break through a British blockade and get to the homeland. --Tom Keogh
Reggie Dunlop (Paul Newman) is the veteran player-coach of the Charleston Chiefs, a failing ice hockey team on the verge of being disbanded due to lack of support and finance. Dunlop's response to a long losing streak is to ask his players to throw the rulebook out of the window, and their new violent approach does lead to an upturn in fortunes. However, their Princeton-educated top scorer (Michael Ontkean) disapproves of the roughhouse tactics, resulting in a rift in the camp.
The Wrong Arm of the Law is a 1963 British comedy directed by Cliff Owen and starring Peter Sellers, Bernard Cribbins, Lionel Jeffries, John Le Mesurier and Bill Kerr. In London, a gang of criminals from Australia led by Jack Coombes (Bill Kerr) impersonate policemen to carry out robberies. Local gang leader Pearly Gates (Sellers), who operates from the cover of a French couturier, finds his takings cut severely, and blames rival crook Nervous O'Toole (Bernard Cribbins). When it emerges they are both being scammed by the same gang, they join forces, along with Lionel Jeffries' Police Inspector Nosey Parker, to bring the so-called I.P.O. mob (I.P.O. - Impersonating a Police Officer) to justice.Product FeaturesThe Long Arm of the Screenwriter - John Antrobus Remembers The Wrong Arm of The Law Behind the Scenes stills gallery Original Trailer
Now you can get all episodes of the terrific cartoon series in a box-set containing seasons one and two. Thundercats have entertained a generation and are still as entertaining today as they were back in the 80's. The first season begins in a distant galaxy the world of Thundera is in crisis. The planet's structure has become unstable and is near collapse. With their destruction imminent Thundera's denizens--known as the Thundercats--escape in a spaceship and plot a course for a new home. While in transit the Thundercats are attacked by evil mutants and their craft is irreparably damaged. Jaga the eldest Thundercat sacrifices himself in order to pilot the ship safely to its destination: Third Earth. The second series picks up with leader of the Thundercats Lion-O suffering a recurring vision. The Thundercats realise that three more Thunderians must have survived the destruction of Thundera! A daring rescue mission pits the Thundercats against the villainous Mumm-Ra who has strengthened his forces of mutants and broadened the range of his dark territories. Can Lion-O save the new Thunderians? Mumm-Ra is powerful and determined to destroy the Thundercats!
Titles Comprise: Cars: Hit the road with the high-octane adventure comedy that shows life is about the journey, not the finish line. Hotshot rookie race car Lightning McQueen is living life in the fast lane until he inadvertently takes the scenic route on his way to the most important race of his life. Stranded in Radiator Springs, a forgotten town on the old Route 66, he meets Doc Hudson, Sally, Mater and a variety of quirky characters who help him discover that there's more to life than trophies and fame. Cars 2: Get ready for more freewheeling fun as star racecar Lightning McQueen and the incomparable tow truck Mater take their friendship to exciting new places when they head overseas to compete in the first-ever World Grand Prix to determine the world's fastest car. But the road to the championship is filled with plenty of potholes, detours and hilarious surprises when Mater gets caught up in an intriguing adventure of his own: international espionage!Cars Toon: Mater's Tall Tales: Rev up your engines for this unforgettable collection of Cars Toons staring Mater, the love and hilarious tow-truck from the hit movie Cars. From the creative minds of Disney-Pixar come nine highly entertaining all Tales involving bullfights, drag races, rock concerts, monster truck showdowns an even UFOs - plus, check out the new, never-seen-before Cars Toons Mater Private Eye and Moon Mater. Join Mater, the heart and soul of Radiator Springs, and all your favourite characters from the world of Cars as they take you on a fun-filled ride that will have your family roaring with laughter!
In 1981, Absence of Malice was a prescient drama set in the world of journalism just before its power exploded out of control. The title refers to a verbal loophole effectively allowing invasion of privacy. After months of fruitlessly investigating the disappearance of a prominent figure, the Justice Division contrive to leak a story that'll flush out information. Unfortunately they pick on the one news gal with a moral backbone lurking behind the all-business façade. Sally Field is superb at controlling the contradictions within Megan, and is perfect next to the resolutely calm Gallagher (an Oscar-nominated Paul Newman). His bogus investigation is sure to backfire, and once the two get together it does so in the most satisfying of ways. Shot in gloriously sunny Miami locations, the film has a constant atmosphere of realism. When it's time to point the finger of blame, the film is given over to the starriest of cameos from Wilfred Brimley as the straight-talking Assistant Attorney General. His differentiation between truth and accuracy ought to be required learning for all journalists. On the DVD: The sound may be mono, but the picture is crisp enough. A minute-long deleted scene expanding Gallagher's business crisis is in poor condition however and doesn't add much. Neither does the theatrical trailer or three mini Filmographies of director Sidney Pollack, Newman and Field. The real extra treat is a 30-minute documentary, which features new interviews with Pollack, writer Kurt Luedtke, Newman and Field. Everyone has fond memories of making the film, even Field despite her bruises after the rough-and-tumble scene with the usually genteel Newman. --Paul Tonks
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