A father (Paul Rudd) and daughter (Jenna Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss (Richard E. Grant) seeks to exploit the creature's miraculous curative properties.
A father (Paul Rudd) and daughter (Jenna Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss (Richard E. Grant) seeks to exploit the creature's miraculous curative properties.
In Ghostbusters: Frozen Empire, the Spengler family returns to where it all started the iconic New York City firehouse to team up with the original Ghostbusters, who've developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age
Based on RC Sherriff's play and novel of the same name JOURNEY'S END is set in March 1918 as C-Company, led by a war-weary Captain Stanhope (Sam Claflin) arrives in northern France to take its turn in the front-line trenches. Told that a German offensive is imminent Stanhope drowns his fears in whisky whilst the officers (Paul Bettany, Stephen Graham, Tom Sturridge) and their cook (Toby Jones) attempt to distract themselves in their dugout with talk of food and life before war. They are joined by Raleigh (Asa Butterfield), a young new officer fresh out of training excited about his first real posting, and a chance to serve under Stanhope. Raleigh's naivety serves as a stark contrast to the other men's impending fear as the tension rises and the attack draws ever closer.
Set in 1969, the year in which the hippy dreams of so many young Englishmen went sour, 1986's Bruce Robinson's Withnail and I is an enduring British cult. Fellow enthusiasts cry immortal phrases from the endlessly brilliant script to one another like mating calls; "Scrubbers!", "We want the finest wines known to humanity and we want them now!" Withnail is played by the emaciated but defiantly effete Richard E Grant, "I" (i.e., Marwood) by Paul McGann. Out-of-work actors living in desperate penury in a rancid London flat, their lives are a continual struggle to keep warm, alive and in Marwood's case sane, until the pubs open. A sojourn in the country cottage of Withnail's gay Uncle Monty only redoubles their privations--they have to kill a live chicken to eat. The arrival of Monty spells further misery for Marwood as he must fend off his attentions. This borderline homophobic interlude apart, Withnail and I is a delight, enhanced by an aimless but appallingly eventful plot. Popular among students, it strikes a chord with anyone who has undergone a period of debauchery and impoverished squalor prior to finding their way onto life's straight and narrow.--David Stubbs
From director Jason Reitman and producer Ivan Reitman comes the next chapter in the original Ghostbusters universe. In Ghostbusters: Afterlife, when a single mom and her two kids arrive in a small town, they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind. The film is written by Gil Kenan & Jason Reitman.
A young teen struggles to make a decision between two vampire brothers and their supernatural lives. Soon after she discovers the truth her whole world turns upside down.
Based on the unbelievable but true events, I, TONYA is a darkly comedic tale of American figure skater, Tonya Harding, and one of the most sensational scandals in sports history. Though Harding was the first American woman to complete a triple axel in competition, her legacy was forever defined by her association with an infamous, ill-conceived, and even more poorly executed attack on fellow Olympic competitor Nancy Kerrigan. Featuring an iconic turn by Margot Robbie as the fiery Harding I, TONYA is an absurd, irreverent, and piercing portrayal of Harding's life and career in all of its uncheckedand checkeredglory.
A grandly entertaining, old-fashioned adventure based on the Rudyard Kipling short story, The Man Who Would Be King is the kind of rousing epic about which people said, even in 1975, "Wow! They don't make 'em like that anymore". When director John Huston first started trying to make the film, with Gable and Bogart, the project was derailed by the latter's death. It was a few decades before Huston was finally able to realise his dream movie--and with an unimprovable cast. Sean Connery and Michael Caine are, respectively, Daniel Dravot and Peachy Carnahan, a pair of lovably roguish British soldiers who set out to make their fortunes by conning the priests of remote Kafiristan into making them kings. It's a rollicking tale, an epic satire of imperialism, and the good-natured repartee shared by Caine and Connery is pure gold. Huston lets the humour emerge naturally from the characters, for whom we wind up caring more deeply than we ever expected. --Jim Emerson
1940, London, the Blitz; with the country's morale at stake, Catrin (Gemma Arterton; Gemma Bovery), an untried screenwriter, and a makeshift cast and crew, work under fire to make a film to lift the nation's flagging spirits; and inspire America to join the war. Partnered alongside fellow screenwriter, Buckley (Sam Claflin; Me Before You), the pair set off to make a film that will warm the hearts of the nation and capture the imagination of the American population. Alongside Gemma Arterton and Sam Claflin, Bill Nighy (Love Actually) stars as fading matinee idol Ambrose Hilliard, who reluctantly joins their production in a supporting role. Based on Lissa Evans' novel, Their Finest Hour and a Half', THEIR FINEST is a witty, romantic and moving portrayal of a young woman finding her way, and her voice, in the mayhem of war and the movies!
Brand New condition, Factory sealed. & disc set of "Yes Minister" and "Yes Prime Minister". -Box 1-
Jack Nicholson, Diane Keaton and Keanu Reeves team up for a sophisticated romantic comedy about a New York music mogul who is astounded when he falls in love with a woman his own age.
If you don't think Austin Powers: International Man of Mystery (1997) is one of the funniest movies of the 1990s, maybe you should be packed into a cryogenic time chamber and sent back to the decade whence you came. Perhaps it was the 1960s - the shagadelic decade when London hipster Austin Powers scored with gorgeous chicks as a fashion photographer by day, crime-fighting international man of mystery by night. Yeah, baby, yeah! But when Powers's arch nemesis, Dr. Evil, puts himself into a deepfreeze and travels via time machine to the late 1990s, Powers must follow him and foil Evil's nefarious scheme of global domination. Mike Myers plays dual roles as Powers and Dr. Evil, with Elizabeth Hurley as his present-day sidekick and karate-kicking paramour. A hilarious spoof of '60s spy movies, this colourful comedy actually gets funnier with successive viewings, making it a perfect home video for gloomy days and randy nights. Oh, behave! "I put the grrr in swinger, baby!" a deliciously randy Powers coos near the beginning of The Spy Who Shagged Me (1999), and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel finds our man Austin heading back to the '60s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world - and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad, and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek. Myers teams Dr. Evil with a diminutive clone, Mini-Me (Verne J. Troyer), then pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Despite symptoms of sequelitis, Austin Powers in Goldmember (2002) is must-see lunacy for devoted fans of the shagadelic franchise. Unfortunately, the law of diminishing returns is in full effect: for every big-name cameo and raunchy double-entendre, there's an equal share of redundant shtick, juvenile scatology, and pop-cultural spoofery. All is forgiven when the hilarity level is consistently high, and Mike Myers -returning here as randy Brit spy Austin, his nemesis Dr. Evil, the bloated Scottish henchman Fat Bastard, and new Dutch disco-villain Goldmember - thrives by favouring comedic chaos over coherent plotting. Once they've tossed Austin into the disco fever of 1975 (where he's sent to rescue his father, gamely played by Michael Caine), Myers and director Jay Roach seem vaguely adrift with old and new characters, including Verne Troyer's Mini-Me and pop star Beyoncé Knowles as Pam Grier-ish blaxpo-babe Foxxy Cleopatra. A bit tired, perhaps, but Powers hasn't lost his mojo.
Tintin is the world's most famous boy reporter. With his faithful dog Snowy at his side the intrepid pair travel the globe to investigate exciting cases. Along the way they encounter a colourful cast of characters who have become familiar to generations of children and adults: Captain Haddock Thompson and Thomson Professor Calculus and Oliveira da Figueira among many others.
One of the last of the classic-era widescreen epics, Zulu was also one of the last war movies to celebrate the virtues of the famous British stiff upper lip. At Rorke's Drift in 1879 a handful of British soldiers, hopelessly outnumbered by 4,000 Zulu warriors, fought one of the most celebrated defensive actions in military history. Zulu tells the story on an epic scale, bringing to life the heroism, courage, loyalty and sacrifice of those desperate hours. This is truly cast-of-thousands filmmaking, with vast action wonderfully captured in widescreen Technirama. John Barry, who also scored Goldfinger in the same year, provides a telling musical accompaniment. The superb cast includes Stanley Baker and Jack Hawkins, but Zulu's final claim to fame is that it made an instant international superstar of a young actor whose name is Michael Caine. A belated sequel arrived in 1979 in Zulu Dawn, which despite even more spectacular action and a great cast died at the box-office. It is nevertheless well worth seeing. On the DVD: Zulu on disc has excellent prologic stereo considering the age of the film, while the anamorphically enhanced 2.35:1 transfer is crystal-clear, boasting rich colours, strong contrast and detail and only occasional minor print flaws. The original American trailer, also presented anamorphically enhanced at 2.35:1, is a worthwhile addition. There is a very good new 45-minute "making of" (1.77:1 anamorphic, in stereo), curiously split into two parts. The heart of the programme consists of interviews with survivors from the film, focusing on Stanley Baker's widow. The only let down is lack of input from Michael Caine and composer John Barry. The commentary by film historian Sheldon Hall, author of a forthcoming book on the movie, and Second Unit Director Robert Porter is serious and packed with information. --Gary S Dalkin
Woody Allen as a worker ant with an inferiority complex? Sylvester Stallone as an affable soldier ant who discovers that digging tunnels is cool? The animation playground we all knew so well is turning into a theme park full of in-jokes for grownups. Antz explores age-old topics (one person--err, insect--can make a difference, individuality and social responsibility must exist side by side, war is hell) with comic asides and Woody Allen's funniest quips this side of PG (adults will chuckle at the socialist slogans bandied about as he campaigns for workers' rights). Sharon Stone voices the rebellious princess with a fun-loving streak that doesn't quite overcome her royal bearing and court training, but she can learn. Gene Hackman is all teeth (ants have teeth?) and menacing grins as the Army general plotting insect-icide. This bug's-eye view of life on Earth gives Allen's neurotic nonconformist an epic adventure of microscopic proportions: a devastating war with a termite colony, an odyssey to the fabled land of plenty (a picnic ground), and a race to save his fellow workers from certain death. Other voices include Anne Bancroft as the Queen, Christopher Walken, Jennifer Lopez, Danny Glover, Dan Aykroyd, Jane Curtin and John Mahoney. The computer animation isn't exactly realistic but feels as solid and contoured as puppet animation with the smoothness and slickness of traditional cell cartoons, and the character designs and animation offer a marvellous range of expressions. The PG rating includes a gritty battle sequence that may frighten youngsters. --Sean Axmaker
A lush retelling of the legend of King Arthur and the Knights of the Round Table, Excalibur is a dark and engrossing tale. Director John Boorman (Deliverance) masterfully handles the tale of the mythical sword Excalibur, and its passing from the wizard Merlin to the future king of England. Arthur pulls the famed sword from a stone and is destined to be crowned king. As the king embarks on a passionate love affair with Guenevere, an illegitimate son, and Merlin's designs on power, threaten Arthur's reign. The film is visually stunning and unflinching in its scenes of combat and black magic. Featuring an impressive supporting cast, including early work from the likes of Liam Neeson and Gabriel Byrne, Excalibur is an adaptation of the legend both faithful and bold. --Robert Lane
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