Efficiently directed by Kathryn Bigelow and featuring some diverting action scenes, 1991's Point Break can be credited with anticipating the extreme-sports fad. A rash of daring bank robberies erupt in which the bad guys all wear the masks of worse guys--former presidents (nice touch). Johnny Utah (Keanu Reeves), an impossibly named former football star who blew out his knee and became a crime-busting federal agent instead, figures out that none of the heists occur during surfing season and all of them occur when, so to speak, surf's down. So obviously, he reasons, we're dealing with some surfer-dude bank robbers. He goes undercover with just such a group, led by a very spiritual guru-type Patrick Swayze, who has some muddled philosophies when it comes to materialism. Reeves' intelligent-sounding lines don't make him seem remotely intelligent, but the plot makes him look positively brilliant. --David Kronke
Episode Comprise: 1. The Road Back 2. The Long Goodbye 3. The Letter 4. My Brother's Keeper 5. The Quality of Mercy 6. Check and Mate 7. Ray's Trial 8. The Oil Baron's Ball 9. Morning After 10. The Buck Stops Here 11. To Catch a Sly 12. Barbecue Four 13. Past Imperfect 14. Peter's Principle 15. Offshore Crude 16. Some Do... Some Don't 17. Eye of the Beholder 18. Twelve Mile Limit 19. Where Is Poppa? 20. When the Bough Breaks 21. True Confessions 22. And the Winner Is... 23. Fools Rush In 24. The Unexpected 25. Strange Alliance 26. Blow Up 27. Turning Point 28. Love Stories 29. Hush Hush Sweet Jessie 30. End Game
In Season 4 of The X-Files, Scully is a bit upset by her on-off terminal cancer and Mulder is supposed to shoot himself in the season finale (did anyone believe that?), but in episode after episode the characters still plod dutifully around atrocity sites tossing off wry witticisms in that bland investigative demeanour out of fashion among TV cops since Dragnet. Perhaps the best achievement of this season is "Home", the most unpleasant horror story ever presented on prime-time US TV. It's not a comfortable show--confronted with this ghastly parade of incest, inbreeding, infanticide and mutilation, you'd think M & S would drop the jokes for once--but shows a willingness to expand the envelope. By contrast, ventures into golem, reincarnation, witchcraft and Invisible Man territory throw up run-of-the-mill body counts, spotlighting another recurrent problem. For heroes, M & S rarely do anything positive: they work out what is happening after all the killer's intended victims have been snuffed ("Kaddish"), let the monster get away ("Sanguinarium") and cause tragedies ("The Field Where I Died"). No wonder they're stuck in the FBI basement where they can do the least damage. The series has settled enough to play variations on earlier hits: following the liver vampire, we have a melanin vampire ("Teliko") and a cancer vampire ("Leonard Betts"), and return engagements for the oily contact lens aliens and the weasely ex-Agent Krycek ("Tunguska"/"Terma"). Occasional detours into send-up or post-modernism are indulged, yielding both the season's best episode ("Small Potatoes") and its most disappointing ("Musings of a Cigarette-Smoking Man"). "Small Potatoes", with the mimic mutant who tries out Mulder's life and realises what a loser he is (how many other pin-up series heroes get answerphone messages from their favourite phone-sex lines?), works as a genuine sci-fi mystery--for once featuring a mutant who doesn't have to kill people to live--and as character insight. --Kim Newman
Eerie, morbid, yet somehow life-affirming, Morvern Callar stars the superb Samantha Morton (Sweet and Lowdown, Minority Report) as the title character, a young Scottish woman whose boyfriend has just killed himself, leaving behind a cassette of assorted songs and an unpublished novel. Instead of reporting his death, Morvern puts her name on his novel before sending it off to a publisher, then uses the dead man's bank card to pay for a trip to Spain with her friend Lana (Kathleen McDermott), where she tries to lose herself in sensation and chaos. The events of Morvern Callar suggest a story, but director Lynn Ramsay (Ratcatcher) focuses on moments of ambiguity and ambivalence between the sequences of dramatic action--and when Morvern does take decisive action, her choices are unnerving. The movie's striking images and rich use of colour vividly capture a dislocated state of mind, when life has come unmoored from meaning. --Bret Fetzer
Columbia's biggest hit of 1943, Sahara confirmed the superstar status Humphrey Bogart attained with his Warner Brothers' North African adventure, Casablanca (1942). Surrounded by the Germans on three sides, Bogart's tough-as-they-come Sergeant Joe Gunn takes his tank and a crew of American, British and French soldiers into the Sahara to reach the retreating allied forces. But when they find that the only water for 100 miles is also the target of a German battalion they decide to take a desperate stand. Early scenes present the characters with assorted perils: thirst, sandstorms and a German air attack. The characters are rather stereotypical: the cowardly Italian prisoner, the Frenchman obsessed with food, the German humourless and fanatical, though the British come out well, and there's a sympathetically drawn black British Sudanese soldier (Rex Ingram). The director was Zoltan Korda, the man behind such British classics as The Four Feathers (1939), and though Sahara lacks the scale of that adventure, Korda's experience pays off in mounting the extended and suspenseful siege/action climax. With support from Lloyd Bridges and Dan Duryea, Oscar-nominated photography by Rudolph Mate and a fine score by Miklós Rózsa, Sahara is a taut, gripping desert war thriller which wouldn't be bettered until Ice Cold in Alex (1958). On the DVD: The black and white picture is presented in the original 4:3 ratio and looks very good for its age, though there are numerous brief instances of substantial print damage. Audio is strong, clear mono. Given the age of the movie it is not surprising the only extras are filmographies and a small selection of beautifully reproduced original advertising posters. The film is presented with alternative soundtracks in French, Italian and Spanish, as well as with English, French, Spanish, Italian, Dutch and Finnish subtitles. There are trailers for The Caine Mutiny (1954), The Bridge on the River Kwai (1957) and The Guns of Navarone (1961). --Gary S Dalkin
A department store executive (Flanery) tries to resist falling in love with a young woman (Gellar) who he believes has possessed magical powers after inheriting a restaurant.
When Professor Hiram Otis gets a research grant to study in England, his family is thrilled to learn that they will live in a real castle called Canterville Hall. The castle's most notable feature turns out to be the ghost of Sir Simon de Canterville (Patrick Stewart), who died 400 years ago, visible only to Virginia Otis (Neve Cambell), 16, and her two younger brothers. Though he goes through the motions of being terrifying, Sir Simon turns out to be a rather friendly fellow once proper intr...
A powerful and very unique love story, which tells with bold, unflinching humour of the sadomasochistic love affair between a troubled young woman and her domineering boss.
Defiant young activists take the women's suffrage movement by storm putting their lives at risk to help American women win the right to vote...
Fifty years on from its first UK broadcast, The Prisoner remains as fresh and dynamic as when it was first unleashed upon an unsuspecting world in 1967. This set presents the complete series, stunningly restored, together with a wealth of new special features.
In Waxwork a waxwork museum appears overnight in an American small town and sinister showman David Warner invites a group of typical teens to a midnight party. However, as expected, the place is home to nasty secrets, and the blundering kids find themselves transported via the exhibits into the presence of "the 18 most evil men in history". What this means is that the film gets to trot out gory vignettes featuring such horror staples as Count Dracula (played inaptly with designer stubble and a Clint croak by ex-Tarzan Miles O'Keefe), the Marquis de Sade, an anonymous werewolf with floppy bunny ears (John Rhys-Davies in human form) and the Mummy. Nerdy hero Zach Galligan appeals to wheelchair-bound monster fighter Patrick MacNee for help. Waxwork is strictly a film buff's movie--with Warner and MacNee turning in knowingly camp performances, and references to everything from Crimes of Passion to Little Shop of Horrors cluttering up its very straggly story line. It's not without ragged charms, though the tone veers between comic and sick (the de Sade scene, although inexplicit, features some lurid dialogue) more or less at random. The effects are likewise variable, and in any case rather fudged by direction, which frequently fails to point up the gags properly. It winds up with a scrappy Blazing Saddles-style fight between the forces of Good and a whole pack of monsters, and the budget runs out before the climactic burning-down-the-waxworks scene. The episodic approach echoes the old Amicus omnibus horrors (Dr Terror's House of Horrors, The House that Dripped Blood etc.), and various cameos allow director Anthony Hickox to parody/emulate the styles of Hammer films, Night of the Living Dead and Roger Corman's Edgar Allan Poe adaptations. On the DVD: It's a nice-looking and sounding print, but fullscreen format. The only extras are filmographies taken from the IMDB and the trailer.--Kim Newman
Disney's "A Christmas Carol", a multi-sensory thrill ride re-envisioned by Academy Award-winning filmmaker Robert Zemeckis, captures the fantastical essence of the classic Dickens tale in a groundbreaking 3-D motion picture event
Disney heads to the country with this sequel to the beloved animated movie The Fox And The Hound. Things are pretty much the same between Tod and Copper. Still best buds the two stick together when Copper gets a chance to show off his vocal chords in a hound dog chorus. But will their different paths drive them apart? The animated comedy comes alive with voice-work by Patrick Swayze Reba McEntire and Jeff Foxworthy as well as country music by Lucas Grabeel and Trisha Yearwood.
No Man Can Posses Her. No Man Can Defeat Her. On the eve of her wedding the beautiful Amathea (Lana Clarkson) sees her world dissolve - her prince groom imprisoned her village razed her friends raped and slaughtered. Becoming the Barbarian Queen she vows revenge and retribution. With savage charm and deadly skill the Barbarian Queen and her female warriors entice then destroy their adversaries. Her power and beauty are legendary... she is the Barbarian Queen!
Recently divorced thriller writer Patrick Glover (Patrick Cargill) struggles to cope with daughters Anne (Natasha Pyne) who wants to leave home and Karen (Ann Holloway) who wants to get married. When Patrick decides to give love another chance he mistakenly proposes to charlady Mrs Stoppard (Beryl Reid) instead of literary agent Georgie (Jill Melford) as he had intended.
A box set featuring the original Disney animated production The Fox And The Hound as well as its belated sequel
"Harold and Kumar Escape From Guantanamo" marks the triumphant return of two hilarious, slacker anti-heroes.
Sparks fly and tempers flare when devoted figure skater Jackie (Christy Carlson Romano the voice of TV's ""Kim POssible "" TV's ""Cadet Kelly"") pairs up with extreme in-line skater Alex (Ross Thomas ""What's Bugging Seth) in the sequel to the ice skating classic The Cutting Edge. Coached by Jackie's father (Scott Thompson Baker TV's ""All My Children "" and ""General Hospital"") this mismatched due struggles to get along with each other on and off the ice as they skate toward Olympic gol
Engage! Captain Jean-Luc Picard (Patrick Stewart) and his Next Generation crew are back and so is the excitement and fun in this the ninth feature film of the Star Trek series. From the beginning of the Federation the Prime Directive was clear: No Starfleet expedition may interfere with the natural development of other civilizations. But now Picard is confronted with orders that undermine that decree. If he obeys 600 peaceful residents of Ba'kul will be forcibly removed from their remarkable world all for the reportedly greater good of millions who will benefit from Ba'kul's Fountain Of Youth-like powers. If he disobeys he will risk his Starship his career and his life. But for Picard there's really only one choice. He must rebel against Starfleet... and lead the insurrection to preserve Paradise.
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