The new Doctor has landed... Introducing Peter Capaldi as the twelfth Doctor this fantastic new series sees the Doctor and Clara (Jenna Coleman) encounter unimaginable wonders and horrors... The time travellers meet a fleet of Daleks as they attempt to rescue a stranded ship of human survivors face ranks of Cybermen stalking the Earth go back in time and join Robin Hood in a fight with killer robots in Sherwood Forest become bank robbers when they break into the deadliest bank in the cosmos face a Mummy on the Orient Express discover a deadly horror dwelling on the Moon; and come to know the last man standing at the end of the universe. This complete box set contains every explosive episode from Peter Capaldi’s debut series in the role and is also packed full of extras including: DVD Exclusive: Doctor Who - Deep Breath Cinema panel session DVD Exclusive: Audio Commentaries Doctor Who: The Ultimate Time Lord Doctor Who: The Ultimate Companion Doctor Who: Earth Conquest (World Tour Documentary) Doctor Who Cast interviews Doctor Who Behind the Scenes FOXES – Don’t Stop Me Now (Music video from Mummy on the Orient Express) DISC 01: DEEP BREATH Clara is alone in Victorian London with a man she doesn’t know a dinosaur in the Thames and a spate of deadly spontaneous combustions. The Doctor has changed. It’s time you knew him. Written by Steven Moffat. INTO THE DALEK A Dalek fleet surrounds a lone rebel ship and only the Doctor can help them now... Written by Phil Ford and Steven Moffat. ROBOT OF SHERWOOD When Robots threaten Sherwood Forest the Doctor must join forces with Robin Hood to stop the evil reign of the Sheriff of Nottingham. Written by Mark Gatiss. SPECIAL FEATURES: Commentary on ‘Into The Dalek’ & ‘Robot Of Sherwood’ DISC 02: LISTEN When ghosts of past and future crowd into their lives the Doctor and Clara are thrown into an adventure that takes them to the very end of the universe. Written by Steven Moffat. TIME HEIST The Doctor turns bank robber when he attempts to break into the most dangerous bank in the Cosmos. Written by Stephen Thompson and Steven Moffat. THE CARETAKER The terrifying Skovox Blitzer is ready to destroy all humanity – and worse any second now Danny Pink and the Doctor are going to meet. Written by Gareth Roberts and Steven Moffat. KILL THE MOON The Doctor and Clara crash land on the Moon to find a world of horror – a mining base full of corpses vicious spider-like creatures poised to attack and a terrible dilemma. Written by Peter Harness. SPECIAL FEATURES: Commentary on ‘The Caretaker’ & ‘Kill The Moon’ DISC 03: MUMMY ON THE ORIENT EXPRESS The Doctor and Clara are on the most beautiful train in history but a deadly creature is stalking the passengers. The Doctor must race against the clock to defeat the terrifying Mummy. Written by Jamie Mathieson. FLATLINE Separated from the Doctor Clara discovers a new menace from another dimension. Written by Jamie Mathieson. IN THE FOREST OF THE NIGHT Everywhere in every land a forest has grown overnight and taken back the Earth. It doesn’t take the Doctor long to discover that the final days of humanity have arrived... Written by Frank Cottrell Boyce. SPECIAL FEATURES: Doctor Who: The Ultimate Time Lord DISC 04: DARK WATER In the mysterious world of the Nethersphere plans have been drawn. Missy is about to come face to face with the Doctor and an impossible choice is looming... Written by Steven Moffat. DEATH IN HEAVEN With Cybermen on the streets of London old friends unite against old enemies and the Doctor takes to the air in a startling new role. Written by Steven Moffat SPECIAL FEATURES: Doctor Who: The Ultimate Companion Casting Peter Capaldi Writing the New Series What is Doctor Who? Why Watch Series 8? TARDIS Tour Foxes ‘Don’t Stop Me Now’ DISC 05: SPECIAL FEATURES: Behind The Scenes Deep Breath Q&A World Tour Documentary Trailers
The Remains of the Day is one of Merchant-Ivory's most thought-provoking films. Anthony Hopkins is a model of restraint and propriety as Stevens, the butler who "knows his place"; Emma Thompson is the animated and sympathetic Miss Kenton, the housekeeper whose attraction to Stevens is doomed to disappointment. As Nazi appeaser Lord Darlington, James Fox clings to the notion of a gentleman's agreement in the ruthless political climate before World War Two. Hugh Grant is his journalist nephew all too aware of reality, while Christopher Reeves gives a spirited portrayal of an American senator, whose purchase of Darlington Hall 20 years on sends Stevens on a journey to right the mistake he made out of loyalty. As a period drama with an ever-relevant message, this 1993 film is absorbing viewing all the way. On the DVD: the letterbox widescreen format reproduces the 2.35:1 aspect ratio with absolute clarity. Subtitles are in French and German, with audio subtitles also in English, Italian and Spanish, and with 28 separate chapter selections. The "making-of" featurette and retrospective documentary complement each other with their "during and after" perspectives, while "Blind Loyalty, Hollow Honour" is an interesting short on the question of appeasement and war. The running commentary from Thompson, Merchant and Ivory is more of a once-only diversion. --Richard Whitehouse
Richard Burton stars in Alexander the Great, a middling entry in the 1950s CinemaScope epic cycle. The film boasts excellent production values and a fine cast--including Frederic March, Claire Bloom, Harry Andrews, Stanley Baker, Peter Cushing and Michael Hordern--but it rarely comes to life other than as a big fat ancient Greek wedding of the talents of Burton and Bloom. They strike real dramatic sparks together, so much so they would be reunited in Look Back in Anger (1958) and The Spy Who Came in from the Cold (1965). The film's failures must be laid at the feet of writer, director and producer Robert Rossen, who never before or after helmed anything remotely on this scale; his best work would follow with the intimate The Hustler (1961). Rossen simply shows little sensibility for the epic, staging lavish but brief and rather pedestrian battles and somehow drawing from the usually mesmerising Burton a performance lacking the charisma essential to a great military commander. Burton fans can enjoy him at his epic best as Marc Anthony in Cleopatra (1963). On the DVD: Alexander the Great is presented anamorphically enhanced at 2.35:1, although the picture is still obviously cropped at either side of the screen throughout. The print is very variable, in places quite grainy and soft with some serious flickering blotchiness, but otherwise it has strong colours, detail and contrast. The sound is primitive stereo. The only extra is the theatrical trailer, effectively presented in anamorphic 2.35:1. --Gary S. Dalkin
THE BEE GEES: HOW CAN YOU MEND A BROKEN HEART takes audiences on a unique cinematic journey through the brotherhood of the Bee Gees and their ever-enduring musical accomplishments. The story of Barry, Maurice and Robin is one of phenomenal success, of loss and heartbreak, and a continual spirit of creative reinvention. From the award-winning producers behind The Beatles: Eight Days A Week and Sinatra: All Or Nothing At All, How Can You Mend A Broken Heart features newly shot interviews, rarely seen archive and remastered performances across the Bee Gees' five-decade long career.
In Carry On Follow That Camel, Sergeant Bilko himself, Phil Silvers, lends lustre and trademark spectacles to this 1967 desert spectacle following the adventures of a group of foreign legionnaires who find themselves besieged by a bloodthirsty band of Bedouins. Silvers plays Sergeant Nocker, a rogue cast firmly in the Bilko mould, who takes a dislike to new recruit Jim Dale, a young upper class gent forced to join the legion following disgrace at a cricket match. He's accompanied, naturally, by his faithful manservant (Peter Butterworth), with the pair showing a fine disregard for the austere requirements of the Foreign Legion. However, once they reach an agreement with Sergeant Nocker, they can join forces to repel the Bedouins, led, not unpredictably, by Bernard Bresslaw. This is vintage Carry On, in spite of Sid James' absence. Kenneth Williams' performance is subdued by having to deliver the usual puns ("zere are a couple of points I still need to go over", he informs busty Joan Sims) in a mangled French accent but Silvers gets into the right mode of delivering broad comedy with subtle inflections. Peter Butterworth draws the short straw this time and must feature in the obligatory cross-dressing scene, while Charles Hawtrey is a splendidly unconvincing hardened legionnaire. As for Bresslaw, can any other British actor, with the exception of Sir Alec Guinness, have distinguished himself in such a variety of multi-ethnic roles? On the DVD: Sadly, there are no extra features except scene selection. The picture ratio is 4:3. --David Stubbs
Dr. Who (Doctor Who): Black Guardian Trilogy (3 Disc)
Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his sceptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story. And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity... The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. --Sam Sutherland
The basic joke of the would-be romp Without a Clue is that Dr Watson (Ben Kingsley) is a detecting genius who has had to hide his light under a bushel by hiring an alcoholic ham actor Reginald Kincaid (Michael Caine) to pose as his imaginary alter ego Sherlock Holmes. He is now frustrated because the blundering idiot is hailed as an infallible hero while he is forever being pushed out of the picture. To really work, the film should have cast a leading man who gives the impression that he might make a good serious Holmes, but Caine is all too credible in his idiot act. In one of the best jokes Watson covers up a faux pas by complementing Holmes on his convincing disguise as a drunken lout, and so the laughs that should come in a flow only manage to trickle. The actual plot is about forged bank-notes ruining the Empire but is constructed to allow for the usual excursion by picturesque steam train to a clue-ridden holiday destination and some dirty deeds down by the docks. The leads coast through their routines but the supporting cast has an appropriately rat-like and embittered Inspector Lestrade from Jeffrey Jones, a winsomely duplicitous Victorian heroine from Lysette Anthony and a rather good goateed sadist Professor Moriarty from Paul Freeman. It can't hold a magnifying glass to Billy Wilder's The Private Life of Sherlock Holmes, but as a Holmesian footnote it edges a deerstalker or so ahead of Gene Wilder's The Adventure of Sherlock Holmes' Smarter Brother. It certainly beats the Peter Cook-Dudley Moore Hound of the Baskervilles and John Cleese in The Strange Case of the End of Civilisation as We Know It.--Kim Newman
This fast moving Cinderella-story comedy follows the fortunes of 18 year-old Connie Doyle (Ricki Lake). Homeless penniless and pregnant Connie's life changes forever when she is mistaken for another woman after the train she is travelling on crashes.
The unforgettable adventure of Man from the Creation! The greatest stories of the Old Testament are brought to the screen with astounding scope and power in this international film which depicts the first 22 chapters of Genesis. This is the spectacular story of man's creation his fall his survival and his indomitable faith in the future. Matching the epic scale of the production are performances by George C. Scott as Abraham Ava Gardner as Sarah and Peter O'Toole as the ha
Four-disc set includes: Episode IV, A New Hope (Special Edition)--with commentary by George Lucas, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Episode V, The Empire Strikes Back (Special Edition)--with commentary by George Lucas, Irvin Kershner, Lawrence Kasdan, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Episode VI, Return of the Jedi (Special Edition)--commentary by George Lucas, Lawrence Kasdan, Ben Burtt, Dennis Muren and Carrie Fisher; Easter egg: credit roll (2 min) Bonus disc: all-new bonus features, including the most comprehensive feature-length documentary ever produced on the Star Wars saga, and never-before-seen footage from the making of all three filmsSubitles (all material across all four discs): English, Danish, Finnish, Norwegian, Swedish Click here to see detailed information on the special features included on the bonus disc. Amazon.co.uk Review George Lucas's original Star Wars trilogy is a clever synthesis of pop-cultural and mythological references, taking classic fairy-tale themes, adding more than a dash of Arthurian legend, and providing cinematic high adventure inspired as much by Kurosawa's Samurai epics as by Flash Gordon and Buck Rogers. As a result, audiences of all ages can find something to identify with in Luke Skywalker's journey from disaffected teenager dreaming of adventure to Jedi Knight and saviour of the galaxy. He not only rescues a Princess, but discovers she's a close relative. And if there's a lesson to be gleaned from the Skywalker clan, it's that no matter how bad things get in the average dysfunctional family, it's never too late for reconciliation. Originally released in 1977, Star Wars, the first film, was made as a standalone. Perhaps that's why Obi-Wan Kenobi seems a tad inconsistent in his attitude towards his old pupil Anakin Skywalker, and perhaps also why Luke is allowed to develop a guilt-free crush on Princess Leia. Lucas's story, told from the point of view of the two bickering droids (a device taken from Kurosawa's Hidden Fortress), also borrows freely from Errol Flynn's Robin Hood, as does John Williams's seminal Korngold-inspired music score. Thanks in equal part to Leigh Brackett's screenplay and Irvin Kershner's direction The Empire Strikes Back (1980) is the most grown-up instalment in the series. The basic fairy-tale is developed and expanded, with the principal characters experiencing emotional turmoil--blossoming romance, mixed feelings and confused loyalties--amid a very real threat of annihilation as Darth Vader's motivations become chillingly personal. Luke's quasi-Arthurian destiny is complicated still further by the half-truths of his wizardly mentors; and swashbuckler Han Solo finds the past catching up with him, quite literally in the form of bounty hunter Boba Fett. The film is graced by more fabulous landscapes (ice, forest, clouds), more unforgettable new characters (Yoda), more groundbreaking special effects (the asteroid chase), and John Williams's finest score. The difficult third film, 1983's Return of the Jedi, seems schizophrenic in its intentions, hoping to please both the kiddies who bought all the toys and an older audience who appreciated the narrative's epic and mythological strands. The result is a film that splits awkwardly into two. One thread, which might be subtitled "The Redemption of Anakin Skywalker", pursues the story of the Skywalker family to a cathartic conclusion. The other thread, which might be described as "The Care Bears Go to War", attempts to say something profound about primitivism versus technological sophistication, but just gets silly as furry midgets doing Tarzan whoops defeat the Emperor's crack legions. In 1997 Lucas re-released the three original films in digitally remastered "Special Edition" versions, in which many scenes have been restored and enhanced (some would say "unnecessarily tinkered with"). Despite loud and continued criticisms from fans, these Special Editions are now considered definitive, if only by Lucasfilm. --Mark Walker
The film boasts the best of the Bond title songs (this one sung on a dreamy track by Nancy Sinatra), but the movie itself is one of the weaker ones of the Sean Connery phase of the 007 franchise. The story concerns an effort by the evil organisation SPECTRE to start a world war, but the not-so-super villain behind the plot is the awfully civilised Donald Pleasence. The thin script is by Roald Dahl (shouldn't we have expected a better Bond nemesis from the creator of mad genius Willy Wonka?), and direction is by British veteran Lewis Gilbert (Alfie). But the movie can't hold a candle to Dr. No, From Russia with Love, or Goldfinger. --Tom Keogh, Amazon.comOn the DVD: This was another troubled production according to the insightful "making of" documentary: director and producers luckily avoided boarding a plane out of Tokyo that crashed and killed everyone on board; the Japanese actresses couldn't speak English and one threatened suicide if she was dropped from the part; and the aerial cameraman filming the helicopter fight had his leg sliced off by a rotor blade. Maurice Binder's evocative main title designs are the subject of the second documentary, "Silhouettes", in which his colleagues voiceboth their admiration of his art and frustration at his chaotic working practices. The commentary is another edited selection of interviews with principal cast and crew. An animated storyboard sequence, trailers, radio spots and a handsome booklet add up to another winning entry in this series. --Mark Walker
Ninety Minutes. Six Bullets. No Choice. The clock is ticking for Johnny Depp in Nick Of Time a twist-filled race-against-time thriller directed by John Badham. And indeed it is a race filmed in ""real time"" so that onscreen events unfold minute by nail-biting minute as they would in real life. No sooner does accountant arrive at L.A.'s Union Station with his six-year-old daughter than he's plunged into a nightmare. Two shadowy strangers separate Watson from his little girl sl
After scoring a hit with the Eddie Murphy-Nick Nolte cop thriller 48 Hours, director Walter Hill returned to the buddy formula with this half-ridiculous, half-invigorating action flick about humourless Russian cop Ivan Danko (Arnold Schwarzenegger). He follows a drug dealer from Moscow to Chicago, where he's matched up with city cop Art Ridzik (James Belushi), whose work ethic is considerably more relaxed. Most of the humour revolves around Danko's grumpy reaction to good ol' American capitalism, while Ridzik urges him to chill out. Red Heat is not bad as action comedies go, but only if you get into the absurd spirit of this predictable fare, in which the unlikely buddies get to wisecrack and act casually while mayhem erupts everywhere they go. Incidentally, Red Heat was the first American film allowed to shoot in Moscow's Red Square. --Jeff Shannon, Amazon.com
2015 marks the centenary year of the remarkable Orson Welles, and this insightful documentary explores the enigma and polymath that was Welles. Jean-Luc Godard once said of this exceptional actor, writer and director: All of us will always owe him everything. Directed by critically-acclaimed documentary maker, Chuck Workman, Magician divides Welles' life into four chapters, with Workman portraying him as an artist who never stopped working throughout his career, but whose unconventional approach ensured he was much misunderstood by Hollywood. Magician is a montage, featuring scenes from almost every existing Welles film - from Hearts of Age to rarely-seen clips from his final unfinished films such as Don Quixote - as well as his television and commercial work. This is an essential film not just for fans of the great Orson Welles, but anyone interested in the magic of cinema.
A genetic mutation sees a flock of New Zealand sheep develop a taste for humans in this hilarious splatterfest.
From acclaimed director Roman Polanski comes this erotically-charged drama starring Hugh Grant and Kristin Scott Thomas as a respectable married couple. While on a trip to Istanbul they come across Oscar and his young Parisian wife Mimi who take it upon themselves to tell the story of their passionate relationship from its sexual beginnings to its current abusive and spiteful stage.
Thunderbirds Are Go followed the remarkable success of the Thunderbirds television series, bringing the three-dimensional puppet animation adventures of International Rescue to the big screen. Set in the 21st century, there is no attempt to explain the background story: as in the TV show International Rescue is a private family organisation who use hi-tech craft to rescue anyone in peril. Here it is the first manned flight to Mars which is in danger, as International Rescue foils a sabotage attempt at the launch, then race to avert disaster when the spaceship returns to earth. What could have made a 50-minute TV episode is expanded to feature length with Martian "rock monsters" and a surreal dream-sequence involving Alan Tracy, Lady Penelope and "Cliff Richard Jnr" & the Shadows, with a new song performed by the real Cliff and the Shadows. In the cinemas this was competing against another British children's TV SF spin-off, the equally colourful Daleks' Invasion Earth 2150AD, and would be followed by Thunderbird 6 (1968). Yet apart from more complex model work, a bigger orchestra and even bigger explosions, on TV this plays like a widescreen double-length episode. On the DVD: The mono sound is powerful, with Barry Gray's stirring music suffering intermittent distortion. Presented in anamorphic widescreen the picture is very good, with strong colours and only minimal grain, though the print does show occasional damage. Unfortunately the original extremely wide 2.74:1 Techniscope image is cropped to more conventional 2.35:1, to the extent that the careful compositions are noticeably damaged, which director David Lane refers to in his joint commentary with producer Sylvia Anderson (who also played Lady Penelope). 35 years after the event their commentary is packed with details of the filming process and full of information about the many problems of and solutions to making an animated feature. Both Anderson fans and budding animators will find this a real education. The original, rather battered, trailer is included, as are galleries of behind the scenes photos, promotional artwork and posters. Altogether it's rather FABulous. --Gary S Dalkin
Featuring a fantastic all-star cast, including the series' workforce being made up of Barbara Windsor (EastEnders), BAFTA-nominee Sheila Hancock (The Boy in the Striped Pyjamas), Carry-On staple Esma Cannon, Miriam Karlin (A Clockwork Orange), Reg Varney (On the Buses), and the shop run by Peter Jones (Mr. Digby Darling). Penny-pinching Harold Fenner (Peter Jones) runs Fenner Fashions, a small garment factory in London that makes high quality clothing. Things rarely run smoothly as militant shop steward Paddy Fleming (Miriam Karlin), who leads the female workforce, constantly disrupts the daily routine. She's always on the lookout for any excuse to take Fenner on and lead the women out on strike, ordering Everybody out!. The exasperated workforce includes Carole (Sheila Hancock), Little Lil (Esma Cannon), Shirley (Wanda Ventham) and Gloria (Barbara Windsor). Stuck in the middle of the regular disputes is poor downtrodden foreman Reg (Reg Varney). He tries to keep the peace between his boss and his colleagues and fails miserably!
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