Orlando Bloom and Kirsten Dunst headline this new romcom from director Cameron Crowe.
A delusional young guy (Ryan Gosling) strikes up an unconventional relationship with a doll he finds on the Internet.
From the creator of Hannibal' comes one of the most terrifying and talked about series of recent years. Child psychologist Mike Painter has ever-growing suspicions that a TV show called Candle Cove' may have played a role in a series of nightmarish events from his childhood, including the disappearance of his twin brother in the summer of 1988. When he returns home to investigate what happened all those years ago, Mike finds out that it - whatever it was - may be happening again. Special Features: New interview with creator Nick Antosca Deleted Scene
After trying everything to get his wife Audrey (Olivia Munn) pregnant, Tommy Macklin (Paul Schneider) realizes to his horror that he may be 'shooting blanks.' Terrified that his marriage may fall apart, Tommy recruits his friends to rob a sperm bank...
From the young director of 2000's critically acclaimed "George Washington" comes a love story set in a small country town in Southern America.
Knock Off: When a shipment of jeans to the US proves counterfeit the ""King of the Knock-Offs"" Marcus Ray (Van Damme) finds himself at the centre of a Russian Mafia plot to hold the United States' security for ransom... Nowhere To Run: An escaped prisoner hiding from the authorities Sam Gillen (Van Damme) always manages to be in the wrong place at the right time. Risking his hard-fought freedom he aids a beautiful young widow Clydie (Rosanna Arquette) and her child
For a first feature from a 24-year-old director, George Washington is an amazingly assured piece of work. The titles misleading: this is no biopic of Americas first President, but a poetic, richly atmospheric rhapsody set in a rundown industrial town in the American South. Given this backdrop, and a predominantly black cast, you might expect an angry study of social deprivation and racial tension, but Green has no such agenda. Instead, he derives a shimmering, heat-hazed beauty from his images of rusting machinery, junkyards and derelict buildings, and if the overall tone is tinged with sadness, its mainly from a sense of universal human loss. The action, such as it is, moves at its own slow Southern pace, following a group of youngsters, black and white, over a few high-summer days. Things do happen--a couple decide to elope, one boys saved from drowning, another gets killed--but theyre presented in an oblique, understated fashion that owes nothing to conventional Hollywood notions of narrative. With one exception, the cast are all non-professionals, mainly youngsters who director-writer David Gordon Green found in and around the town where the film was made, Winston-Salem in North Carolina. Shooting in a semi-improvised fashion, Green draws from his young cast remarkably spontaneous performances and dialogue (often their own) full of unselfconscious poetry. Drawing on a wide range of influences--among other things he cites Sesame Street, documentaries and such 70s classics as Deliverance, Walkabout and especially Terrence Malicks Days of Heaven--Green has fashioned a film thats fresh, tender and utterly individual. And it looks just gorgeous: belying the tiny budget, Tim Orrs widescreen photography lavishes mellow softness on images of dereliction and small-town decay. Never has dead-end poverty been made to look so attractive. On the DVD: George Washington comes on a disc generously loaded with extras. Besides the obvious theatrical trailer we get two of Greens early short films, Physical Pinball and Pleasant Grove (both clearly dry runs for the main feature), an 18-minute featurette about the films reception at the Berlin Film Fest and a deleted scene of a community meeting. This scene, the short Pleasant Grove and the movie itself also offer a directors commentary--or rather a directors dialogue, as Green shares the honours with one of his lead actors, Paul Schneider. Their laconic, unpretentious comments enhance the whole experience enormously. The film has been transferred in its full scope ratio (2.35:1) and looks great. --Philip Kemp
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