Black Joy is a lightly ironic British culture-clash comedy. Trevor Thomas heads the cast as a Guyanan youth who is under the delusion that life will be easier for him in London. No sooner does Thomas set foot in England than he gets tangled up in one disaster after another. The catalyst for most of Our Hero's travails is ""assimilated"" Caribbean Dave Beaton who delivers an antic performance as a streetwise con artist. Black Joy was adapted from Dar
A well-oiled Jean-Claude Van Damme makes his starring debut in what may be one of the few kickboxing films to be based on a true story. The Muscles from Brussels plays Frank Dux, the first Westerner ever to win the extreme "whupfest" known as the Kumatai (a long-running, no-holds-barred fighting tournament in Hong Kong). While a bit deficient in the script department (to say the least), this undeniably exciting flick succeeds by letting Van Damme play to his strengths: namely, minimal acting and a lot of impossibly acrobatic splits while kicking people in the head. Bloodsport is a guilty-pleasure testosterone blast of the highest order, with a memorable villain (the massive Bolo Yeung from Enter the Dragon) and a multitude of well-choreographed fight scenes. An embarrassed-looking Forest Whitaker cameos as a hapless (and non-kickboxing) cop. --Andrew Wright
Summer 1977 the week of the Queen's Silver Jubilee. Passion is in the air of the dark blue London sky. TJ is out cruising the park for love and is murdered. A beatbox lying in the bushes is the only clue... Soul mates since childhood Chris and Caz are two young black disc jockeys who run the coolest pirate radio station in town Soul Patrol. The skins on Chris's housing estate mock him and Caz; they envy their black soul boy style. However Chris has ambitions beyond the pirat
The dominant themes of director Sidney Lumet's distinguished career are in full force in Night Falls on Manhattan, a moral melodrama involving a young district attorney (Andy Garcia) who takes on a career-making case only to uncover his father's possible involvement in pervasive police corruption. Balancing personal ethics and political compromise in a high-wire act of power and its abuse, Lumet relies on dialogue and superb performances (including those by Ron Leibman, Richard Dreyfuss and Lena Olin) to achieve a devastating impact. The script (based on the novel Tainted Evidence by Robert Daley) is too smart and Lumet's direction too sure-footed to fall back on the black-and-white exploits of conventional criminals and their crimes. The movie's moral framework (like that of Lumet's earlier film Q&A) is more realistic, dealing in the grey areas between right and wrong where misdeeds can arise from the best intentions. At the centre of Garcia's dilemma is his father, a seasoned New York cop played so convincingly by Ian Holm that you'd never guess the actor was British. Although it received mixed reviews when released in 1997, Night Falls on Manhattan ranks among Lumet's finest films. --Jeff Shannon, Amazon.com
Sometimes Being A Nice Girl Is Too Much To Bare! Britt Ekland portrays Rachel a beautiful young Amish woman who leaves her Pennsylvania home and comes to New York City in hopes of becoming a dancer and ends up doing something quite different: inventing the striptease! Jason Robards gives a wonderful performance as Raymond Paine the somewhat sleazy star of Minsky's burlesque show who takes on interest in Rachel's many charms. But his admiration is challenged by Chick Williams (Norman Wisdom) Raymond's comedy partner for the past ten years. And when Rachel's dress is torn accidentally she plays it up and finds herself the object of even more affection - from the very appreciative audience! The leader of an anti-vice group has everyone arrested but not before Rachel becomes the toast of the town in this hilarious - and scandalous - hit!
In 1850 a few miles outside Boston the household of the dour Mr. Wentworth receives two unannounced visitors from Europe Eugenia and Felix the daughter and son of his half sister. Gertrude one of Wentworth's two daughters is instantly infatuated with her cousins and trouble brews...
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and story lines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep-down sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whateley's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter stating he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
Featuring a score by Elmer Bernstein unique opening credits by Bond optical effects veteran Maurice Binder and gritty performances by Roger Moore and Ray Milland 'Gold' is a superb adaptation of Wilbur Smith's acclaimed novel concerning a group of greed-driven businessmen conspiring to flood a South African gold mine... ....spectacular underground sequences and a rousing finale - Halliwell's Film And Video Guide 1999.
Norman Wisdom reprises his best-loved character, the comically inept Pitkin, in 1965's The Early Bird, ably supported once again by Edward Chapman in his final appearance as Mr Grimsdale. This time around Wisdom is the only milkman working for Grimsdale's Dairy, a small business threatened by a menacing large corporation in the shape of Consolidated Dairies and their electric milk floats. Grimsdale and Pitkin must evoke the Dunkirk spirit to save their family firm from the grasp of the faceless giant. Of course, the wafer-thin plot is the merest excuse for a series of calamitous set pieces in which Wisdom wreaks havoc in his trademark bumbling manner. The best bits involve a disastrous game of golf, the usual shenanigans with a fire hose and a virtuoso tour de force opening sequence as the household struggles to wake up in the morning, all set to Ron Goodwin's tongue-in-cheek music score. --Mark Walker In Press for Time Norman Wisdom offered his version of the crusading reporter movie, though by 1966 time was running out for Norman's style of big-screen comedy. Perhaps a sign of his growing frustration with the formulaic nature of his pictures was that he stretched himself to play not just his usual underdog hero, but also his own mother and his grandfather, the Prime Minister. Wisdom also cowrote the movie in which, as a reporter in a small seaside town, he causes chaos for the council, organises a beauty parade and dresses as a suffragette. Though now nearing the end of his years as a movie star, Wisdom shows himself to still be as polished as ever at his own brand of good-natured slapstick. --Gary S Dalkin
Anchor Bay presents two of the films from Showtime's much-anticipated Masters of Horror series; John Carpenter's Cigarette Burns and Stuart Gordon's Dreams In The Witch House. Cigarette Burns: Kirby Sweetman knows how to find rare film prints. However nothing could prepare him for the daunting search for 'Le Fin Absolue du Monde' a film allegedly shown only once and rumoured to have driven its audience into a muderous frenzy before the cinema mysteriously erupted in flames. Working for a shadowy patron Jimmy's increasingly obsessive investigation becomes nightmarish and deadly. Finally he discovers 'Le Fin Absolue du Monde' is well deserved. This supernatural 'Chinatown' is a chilling look at the power of cinema and the lengths to which we will got to satiate our own private demons. Dreams In The Witch House: This is Stuart Gordon's fifth adaptation of a H.P. Lovecraft story and mighty frightening it is too! Walter Gilman (Ezra Godden) a college student studying interdimensional string theory rents a garret in a run-down building in the old New England town of Arkham. He is haunted by terrifying nightmares in which he is visited by a 17th-century witch and her familiar a rat with a human face. He begins to realize that these are not dreams at all and that diabolical forces are gathering to sacrifice his neighbour's infant. As Walter struggles to prevent this it becomes less clear if he will save the child or become its unwitting murderer himself.
Filmed at the Metropolitan Opera in 1983 Berlioz's masterpiece Les Troyens is a tragic tale of love and fate based on Virgil's Aeneid. Under the baton of James Levine Jessye Norman is stunning in the part of Cassandra and Pl''cido Domingo makes for a strong compelling Aeneas. This benchmark performance was hailed by both critics and audiences and performed to greatest critical acclaim. Norman's role debut as Cassandra emerged as one her most significant and compelling performances and this DVD is also a stand-out release among Domingo's extensive filmography.
Although Britain has changed almost beyond recognition since Some Mothers Do 'Ave 'Em was first broadcast in the early 1970s, the show's simple slapstick humour has an ageless quality that makes it enduringly hilarious. Michael Crawford found fame as Frank Spencer, still probably television's most accident-prone man, and still Britain's most mimicked sitcom character, having inspired thousands of wannabe entertainers to don black berets and Humphrey Bogart-style rain coats and feebly exclaim "Mmm, Betty!". Crawford's great insight was to portray Frank as both a figure of fun and an endearingly sympathetic character: we laugh at him but never cease liking him, and we always admire his plucky never-say-die spirit. Most of the episodes share the common theme of Frank attempting to find a job (ranging from a holiday camp entertainer to an RAF cadet), but because of his clumsy demeanour and lack of common sense, losing the positions within a matter of hours. Pitted against a variety of middle-aged, male professionals (his GP, a psychiatrist and a public relations consultant for example), Spencer's stupidity reduces these "experts" to nervous wrecks. His long-suffering, doting wife Betty (Michelle Dotrice) features throughout, but despite his wild behaviour and idiocy she appears only mildly flustered by her husband's actions. On the DVD: Some Mothers Do 'Ave 'Em was one of the first comedy series to be recorded by the BBC in colour, but the sound and vision of the episodes transfer perfectly satisfactorily to DVD format. At times the production values of some of the episodes are decidedly ropey (watch out for stray boom microphones and the skewed opening and closing credit). Apart from the episode and scene selection menus, which incorporate sound extracts from the show, no extras are included. --John Galilee
Two examples of British Second World War films, We Dive at Dawn (1943) and Reach for the Sky (1956), are here stylishly packaged as a World War II Classics pack. We Dive at Dawn tells of the encounter between a British submarine and a German warship in the Baltic Sea. John Mills gives a dependable performance as the submarine commander, with Eric Portman the pick of a strong supporting cast. Director Anthony Asquith finds the balance between action sequences and "in situ" dialogue, and there's an evocative score from Louis Levy. The movie was an underrated film that deserves reappraisal, whereas Reach for the Sky (1956) was a box-office hit and remains a fondly regarded classic. Kenneth More is ideally cast as Douglas Bader, the gifted pilot who loses both legs in a pre-war air crash, only to play a major role in the Battle of Britain, rise to the rank of Group Captain and become a war hero. Based on Paul Brickhill's biography, this is an "official" history maybe, but Lewis Gilbert's screenplay and direction are historically accurate and informed by that very British humour of which More was a natural. The film is graced by a decent supporting cast, and a typically "widescreen" score from John Addison. On the DVD: The black and white prints look and sound excellent. Whereas We Dive at Dawn has 4:3 video aspect ratio, 15 chapter points and no subtitles, the later Reach for the Sky has vivid 16:9 anamorphic reproduction, 20 chapter points, subtitles and detailed biographies of More, Gilbert and Barder. The original theatrical trailer is included, but it would also have made sense to include an interview or documentary footage of Bader himself. Even so, this is an excellent starting-point for investigating a key area of British cinema.--Richard Whitehouse
Set against the backdrop of the 80s music scene, this documentary charts the meteoric rise, fall and ultimate reunion of pop sensation, Spandau Ballett told by the band members themselves with unseen archive footage that will thrill the many fans and beyond.
Successful New York advertising executive Bill Templeton and his wife Janice are living a happy existence with their daughter 11-year-old Ivy. However Janice and Bill begin to notice a strange man has been closely observing Ivy when she walks to school. They eventually find out he is Elliot Hoover (Hopkins) a man who says that he lost his wife and daughter in a car crash and that Ivy is really his daughter Audrey Rose reincarnated. They refuse to believe him until one night whils
George and Mildred was a spin-off from Johnny Mortimer and Brian Cookes successful 1970s sitcom Man About the House, and ran from 1976 to 1980. This release features the first six episodes. Starring the late, great Yootha Joyce as Mildred Roper, a sex-starved cockney housewife with pretensions to the middle classes, and Brian Murphy as George, her hopeless and incorrigible husband, this series sees them make the upward move to posh Middlesex suburbia, despite George being on supplementary benefit--mortgage conditions were evidently easier in 70s sitcomland. Their neighbours are snooty estate agent Jeffrey Fourmile, his wife Ann and son Tristram. Jeffrey is perturbed that the Ropers arrival will lower the tone of the neighbourhood ("Tristram will get nits!") as they stink up the street with their three-wheel car and cheap wartime furniture. Much mildly amusing comedy at the expense of the working/middle class divide ensues, with no double-entendre left unturned and some period gags to match the Ropers interior decor. Situations involving a local MP, Mildreds even snobbier sister and an unsightly caravan brought out the best in Joyce and Murphys excellent characters, while Nicholas Owen as Tristram was among the least annoying of child sitcom stars. --David Stubbs
A key film of the British New Wave 'Saturday Night And Sunday Morning' was a great box-office success - audiences were thrilled by its anti-establishment energy the gritty realism of its setting and most of all by a working-class hero of a fresh and outspoken kind. Based on Alan Sillitoe's largely autobiographical novel the film is set in the grim industrial streets and factories of Nottingham where Arthur Seaton spends his days at a factory bench his Saturday evenings in the local pubs and his Saturday nights with Brenda (Rachel Roberts) wife of a fellow factory worker. Played by Albert Finney with an irresistable animal vitality Arthur is anti-authority (Don't let the bastards grind you down) and unashamedly amoral (What I'm out for is a good time. All the rest is propoganda). With powerful central performances cracking dialogue by Sillitoe and a superb jazz score by Johnny Dankworth 'Saturday Night And Sunday Morning' still stands as a vibrant modern classic.
When Inspector Morse first appeared on television in 1987, nobody could have predicted that it would run into the next century, maintaining throughout a quality of scripts and storylines that raised the genre of the detective series to a new level. Much of its success can be attributed to John Thaw's total immersion in the role. Morse is a prickly character and not obviously easy to like. As a detective in Oxford with unfulfilled academic propensities, he is permanently excluded from a world of which he would dearly love to be a part. He is at odds with that world--and with his colleagues in the police force--most of the time. Passionate about opera and "proper beer", he is a cultural snob for whom vulgarity causes almost physical pain. As a result, he lives from one disillusionment to another. And he is scarred--more deeply than he would ever admit--by past relationships. But he also has a naïve streak and, deep down, sensitivity, which makes him a fascinating challenge for women. At the heart of Morse's professional life is his awkward partnership with Detective Sergeant Lewis, the resolutely ordinary, worldly sidekick who manages to keep his boss in an almost permanent state of exasperation while retaining his grudging respect. It's a testament to Kevin Whately's consistently excellent performance that from such unpromising material, Lewis becomes as indispensable to the series as Barrington Pheloung's hypnotic, classic theme music. Morse's investigations do occasionally take him abroad to more exotic locations, but throughout 14 successful years of often gruesome murders, the city of Oxford itself became a central character in these brooding two-hour dramas: creator Colin Dexter said he finally had to kill Morse off because he was giving Oxford a bad reputation as a dangerous place! --Piers Ford
Air Aces is the groundbreaking series that tells the storiesof the most heroic airborne combat missions in history. Using real vintage aircraft the series films the impossible by re-creating mid-air combat sequences. Featuring Spitfires Lancaster bombers and Phantom fighters as well as aerial stunt teams and state-of-the-art camera technology the series dramatises the exploits of the world’s greatest Air Aces. The series also features revealing interviews with the last surviving veterans and military historians rare archival footage and cutting edge CGI.
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