Nowadays, the word "event" is thrown around all too often when describing television programmes, but back in 1983 the debut of V: The Mini Series was a television event in the truest sense. The appearance of gigantic flying saucers over the world's largest cities heralds the arrival of aliens from a distant galaxy who look human and act benevolently. Of course, things aren't exactly what they seem, and when some suspicious humans start to question the visitors' intentions they uncover a vast alien conspiracy, along with some unusual culinary habits. Soon, the visitors have enslaved the Earth under their fascist rule, and small groups of human rebels are forced underground to fight for the freedom of their entire species. But with the future of the planet still in question the epic story comes to an abrupt end, forcing the viewer to wait for the resolution in V: The Final Battle and the on-going series. That's not to say that the original V isn't worth the price of admission: in over three hours, it manages to capture the spirit of the great classic science fiction of the 1950s and 60s. The feeling of paranoia and insecurity that runs throughout the whole thing makes it feel, at times, like an expanded episode of The Twilight Zone, only shinier (hey, it was the 1980s). The special effects were impressive for their day, inspiring similarly themed films in the 90s (the gigantic flying saucers were seen again in Independence Day, and the storage area of the mothership turns up in The X Files Movie and The Matrix). What does irritate, however, is the utter lack of subtlety in the allegorical storyline. In fact, it could only have been made more obvious by demanding that the entire cast wear "This is how it was in 1930s' Germany" t-shirts. But if V occasionally doesn't live up to its own high standards, it's still a remarkably high-quality slice of epic television drama. On the DVD: The picture is an impressive widescreen 1.85:1 ratio and the soundtrack is adequate Dolby stereo. The DVD boasts a feature-length commentary by writer and director Kenneth Johnson, as well as a 25-minute "Behind the Scenes" documentary. --Robert Burrow
Lenny (MAIA SETHNA), is an eight-year-old Parsee girl who is growing up rich in pre-partition Lahore in 1947.
A mock documentary filmed mostly in and around LA with interviews of Cheech and Chong interspersed between four videos of songs from their last album. Songs include: 'Get outta my room' and 'Born in East LA'.
James Spader is an FBI agent taunted by serial killer Keanu Reeves, a man who sends his adversary a photo of each victim before he kills them, daring his adversary to catch him.
Meet Elvira (Cassandra Peterson) the notorious American cult heroine! This wisecracking vamp wishes to open her own show in Las Vegas but needs $50 000. Suddenly her great aunt dies and Elvira goes to a conservative mid-west town to hear the reading of the will. Elvira is disappointed when she learns that she has inherited a dilapidated old house a poodle and a cook book. To compound this she is accused of being a witch! Elvira discovers the evil force in the town and finds that o
C.S.I. is an acclaimed edgy fast-paced drama series about a passionate team of forensic investigators (among them William Petersen and Marg Helgenberger) who work the graveyard shift at the Las Vegas Criminalistics Bureau. Their job - to find the missing pieces at the scene that will help to solve the crime and vindicate those who often cannot speak for themselves - the victims. Between the hidden clues and the buried motives lies the trail to the truth because people lie... but the evidence never does. Following on from the explosive Season 5 finale which saw the kidnap of team member Nick Stokes Season 6 sees the once fractured team reunited. With Las Vegas's bright lights and glamour as the backdrop the Clark County CSI night shift once more takes on the task of cleaning up what lies beneath the neon and the money. In this 3-disc release we learn of Warrick taking a walk down the aisle Nick tries to cope with his near death experience and Grisson will begin to open up and engage with his emotions and people. Features Part 1 of Series 6 Episodes 1 - 12
Sylvester Stallone stars as an FBI agent who goes to a secluded D-Tox centre after a serial killer murders his girl friend, only to find the killer has followed him...
Stephen King's The Shining is a new adaptation from the author himself, made for American television, that bears very little resemblance to the 1980 Stanley Kubrick version. Which is not surprising since Kubrick practically threw out most of King's novel and presented his own version of the story. Here King redresses the balance in a mini-series that follows his original almost to the letter, and manages to be effectively creepy despite the budget and censorship limitations of the TV format. Stephen Weber takes over the role of Jack Torrance, the caretaker who slowly descends into madness in the haunted Overlook Hotel. His performance is as far from Jack Nicholson as you could get, with his insanity building slowly and menacingly rather than being virtually mad from the get-go. Rebecca de Mornay is superb as Wendy Torrance, struggling to hold her fragile family together amid the spooky goings on. Young Courtlan Mead plays Danny, whose unique gifts give the story its title, as one of those infuriating TV brats who overacts left right and centre. Fortunately, there are enough creepy moments and a fair few frights to hold the whole thing together: the woman in the bathtub scene being a stand out shocker. Sure, there is nothing quite like Nicholson's "Here's Johnny!" moment, but this is the story King wanted to tell and it still shines brighter than most of the other recent screen adaptations of his work. On the DVD: Stephen King's The Shining is a nicely packaged set, with the film spread over two discs complete with a commentary featuring Stephen King himself, instantly making this set a must-have for his fans. There are also several deleted scenes which add some interest to parts of the movie. The transfer is good, considering its TV origins, and the crisp sound captures every spooky moment on this well-thought-out and presented set. --Jonathan Weir
This Hitchcock thriller is mainly famous for its climax, which finds the villain (Norman Lloyd) hanging by his sleeve from the torch on the Statue of Liberty as the seam begins to unravel. Otherwise, it's not one of the director's great pictures, though it's still worth a look. Set during the initial stages of World War II, the story concerns a ring of Nazi fifth columnists who plot to weaken American military defences by blowing up a munitions factory, a dam and a battleship. In an early example of Hitchcock's celebrated "wrong man" theme, the hero Barry Kane (Robert Cummings) gets falsely accused of sabotage and becomes a fugitive, hunted from coast to coast. Eventually, he hooks up with the heroine Pat Martin (Priscilla Lane), a super-patriot who takes some convincing of his innocence and plans to turn him in--until the inevitable chemical reaction occurs. It's a highly episodic tale that may put you in mind of Hitchcock's previous The 39 Steps (1935) and his later North by Northwest (1959).The miscellaneous incidents (a shoot-out at a cinema, a bizarre encounter with the freaks in a circus troupe) are often exciting in themselves. The trouble is they just sort of lie there like so-many scattered marbles, never building into a coherent and satisfying whole. The bland dialogue supplied by novice screenwriter Peter Viertel doesn't help matters much. Neither does the casting of the two stars, square, wholesome types, entirely lacking in the perversity and eccentricity one associates with the Hitchcock universe. (It's tedious to hear Lane endlessly mouthing off about the American way, while Cummings must be counted one of the dullest leading men in Hollywood history.) Still, this half-hearted effort by the pot-bellied master of suspense would probably make the reputation of a dozen lesser directors. --Peter Matthews
The monsters in Monsters, Inc. are just so incredibly cute--and they know it. Whereas Woody, Buzz and pals in the Toy Story saga were filled with self-doubt about just how much the children in their lives would continue to love them, here our heroic monsters and their impossibly lovable human ward Boo have no such worries, at least when it comes to the cinema audience. And that's why Monsters, Inc., for all its wondrous computer-animated artistry, its smart humour and its family-friendly appeal, doesn't quite capture the naïve charm of its predecessors. Nevertheless, John Goodman and Billy Crystal, as scare-champions Sulley and Mike, are a great double-act whose comedy never goes over kids' heads but still reaches up to make their parents laugh. The film's central conceit--that monsters in the bedroom closet are just doing a night's work in order to generate power from screams for the city of Monstropolis--is funny and cleverly worked out; and kids will of course love the fact that the monsters are mortally afraid of the very children they are trying to frighten. The animation is extraordinarily detailed (Sulley's fur is a marvel in itself) and the set-piece action sequences top anything that has gone before for sheer audaciousness. But overall Pixar play things very safe, from the hissable villain to the end credit "outtakes". A bolder film might have taken inspiration from The Nightmare Before Christmas; instead, a little of that Disney disease of knowing cuteness seems to have crept into the formula. --Mark Walker
When a terrified family flees a desolate New Zealand farmhouse, two sceptical scientists and one young psychic are sent to investigate their claims of a haunting. Once there, they must battle a powerful spirit, intent on protecting the house's dark secrets at any cost.
It Came from Beneath the Sea appeared two years after Ray Harryhausen unleashed The Beast from 20,000 Fathoms upon New York City. This time the master special-effects creator turned loose a giant (albeit six-armed) octopus on San Francisco, and the result is another enjoyable atom-age adventure that should please fans of vintage science fiction. Kenneth Tobey, who battled The Thing (From Another World) in 1951, stars as a Navy captain pursuing a monstrous octopoid (sextapoid?) after it attacks his atomic sub. After it wreaks havoc with shipping lanes, he tracks the creature to San Francisco for a final showdown. Scripting by George Worthing Yates (Them) and Hal Smith and direction by Robert Gordon are perfunctory at best, which gives the always-reliable Tobey and costar Faith Domergue little to do, but this is Harryhausen's show, and his monster, though the budget was restrained, is still impressive. Younger audiences weaned on digital FX may find this creaky, but nostalgic viewers will enjoy its simple thrills. --Paul Gaita
Allan Quatermain and the Lost City of Gold had the task of bettering its hilarious predecessor, King Solomon's Mines. It failed. Looking back from the age of slick computer graphics, it's painfully distracting to spot obvious back-projection, shoddy miniatures and some of the worst wire-work ever. Instead one must concentrate on the easy chemistry between Richard Chamberlain and Sharon Stone reprising their roles, this time in a quest for Quatermain's lost brother. Together they traipse across Africa, encountering all the usual pitfalls (literally) as well as jungle animals, restless native tribes and fast-flowing rivers and so on. James Earl Jones takes the money and runs through his wooden dialogue, all the time backed by endless repetitions of Jerry Goldsmith's sub-Indiana Jones hero theme. Taken on its own it's pretty atrocious viewing, but played back-to-back with the first movie The Lost City of Gold's surreal self-contained universe of hilarious adventure movie clichés is a lot of fun. Sharon Stone's hair remains perfect throughout, of course. On the DVD: Allan Quatermain and the Lost City of Gold, like King Solomon's Mines, is presented on disc in a surprisingly pristine print, and in 2.35:1 widescreen. Also like its predecessor, the sound is in Dolby 2.0, which again reflects the limited number of spot effects layered into the soundtrack. The original trailer is the only extra feature. --Paul Tonks
Donny Osmond belts out all his classic hits live at the Apollo in Hammersmith. Tracklist: Could It Be I'm Falling In Love All Out Of Love Puppy Love Seasons Of Love Luck Be A Lady Tonight Not While I'm Around Any Dream Will Do I Can't Go For That Don't Dream It's Over This Is The Moment Soldier Of Love Go Away Little Girl Too Young Young Love Twelfth Of Never Love Me For A Reason I'm Not In Love Would I Lie To You? I Wish Immortality Crazy Horses Never Goi
Beautiful Joe is a well-intentioned film. The problem is that it tries for both comedy and drama, and succeeds in neither. Amiable Irishman Joe (Billy Connolly), after one of the worst days imaginable, decides to leave his adopted New York home and seek adventure. Unfortunately, he runs into Hush (Sharon Stone) and gets "Far More Adventure than He Bargained For". Stone's character is the standard beautiful-but-messed-up-woman-who-needs-rescuing that is for some mystifying reason supposed to be appealing. And yes, of course she has a mute son who just might speak if only he had the right reason. Stone is "stretching" herself here, and is clearly eager to play a character: she mugs, she drawls, she wiggles and she cries. Not a scrap of scenery escapes her gullet; at times her attempts at comedy actually become sort of upsetting. Ally McBeal's Gil Bellows turns in a similarly inept and cartoonish "comic" performance. Beautiful Joe's one saving grace is Connolly, who manages to rise above his fellow cast members and the bizarre editing to turn in a charming, dignified performance. --Ali Davis, Amazon.com
Four filmmakers take their cameras into the Montana wilderness to document the mysterious inner workings of a young community with a giant secret.
When his home of New Eden is destroyed by a revitalized Brotherhood and its new Vamp leader, Martin finds himself alone in the badlands of America with only the distant memory of his mentor and legendary vampire hunter, Mister, to guide him.
The rise and fall of the notorious Kray Twins, from their humble beginnings through to their arrest and imprisonment
Cowboy (Emilio Estevez) a lone gunslinger of grey-eyed coldness and very few words rides into town trailing a single wooden coffin behind him. Hotly pursued by The Regulators a band of self appointed lawmen whom are hell bent on revenge and led by the imposing figure of Reager (Howie Long). This mysterious figure is a man with no name and a man with no home whose only role in life appears to be to utilise his incredible gunslinging skills to defend those who are unable to do so against the oppressive bandits and ruthless cowboys in this lawless society. It is on one such occasion when he rescues a crippled civil war veteran he is entrusted with the secret of untold treasures and now has not only Reager and his vengeance riddled posse to deal with but also another band of ruthless outlaws who have made the search for the gold their life's work. It's incredibly stylised action all the way as this cold blooded killer must utilise all of his skills in a battle against overwhelming odds as the mystery behind the single wooden coffin slowly unfolds.
Yes, Elvira's back and she's fabulous! With her voluptuous milky-white cleavage, voluminous black hair and hilarious one-liners, the essence of camp oozes from her pores. Elvira's Haunted Hills culls its outrageousness from the classic Vincent Price/Edgar Allen Poe/Roger Corman films of the early 60's along with a little Rocky Horror Picture Show and Fearless Vampire Killers.The tale begins in 1851, Carpathia when Elvira and her maid ZouZou are en route to perform in the Parisian Revue Yes I Can Can but inadvertently end up at the sinister Lord Vladimere Hellsubus' medieval castle. Bearing an uncanny resemblance to Vladimere's long-dead wife, Elvira learns of the Hellsubus curse and finds her life in danger. What's a girl to do? Well, break out into song and dance, of course. Continuing our saga, love-torn Vladimere chases our heroine on her high heels around the castle. Will she escape the family curse and the evil Vladimere, and can she keep her hands off the studly stable master long enough to save the day?
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