In an oeuvre permeated with ambivalence toward bourgeois life director Jean Renoir speculates on the result of the abandonment of those values in Boudu Saved From Drowning. Producer Michel Simon stars as Boudu a vagabond who attempts suicide by throwing himself into the Seine grieving over the loss of his dog. But Eduaord Lestingois (Charles Granval) a humane bookseller rescues him and takes him into his home hoping to reform the shaggy bum. Shortly thereafter anarchy
The story of a young man who is bent on becoming the best hoodlum in the underworld society where favours are repaid in kind... or repaid in blood.
LUCIFER is the story of the original fallen angel. Bored and unhappy as the Lord of Hell, Lucifer Morningstar has resigned his throne and retired to the City of Angels, where he owns an upscale piano bar called Lux. Lucifer is enjoying his retirement and indulging in a few of his favourite things -- wine, women, song -- when a beautiful pop star is brutally murdered outside of Lux. For the first time in roughly 10 billion years, he feels something awaken deep within him. He's not sure whether it's his suppressed desire to punish the wicked or something deeper and more confusing -- is he actually capable of feelings for a human being? The very thought disturbs him -- as well as his best friend and confidante, Mazikeen (aka Maze), a fierce demon in the form of beautiful young woman. The murder attracts the attention of LAPD homicide detective Chloe Dancer, who finds herself both repulsed and fascinated by Lucifer. As they work together to solve the pop star's murder, Lucifer is struck by Chloe's inherent goodness. Used to dealing with the absolute worst of humanity, he begins to wonder if there's hope yet. At the same time, God's emissary, the angel Amenadiel, has been sent to Los Angeles to convince Lucifer to return to Hell. But with the City of Angels at his feet and a newfound purpose, Lucifer's having too much fun to go back now. Sexy, dark and irreverent, this one-hour drama from Jerry Bruckheimer Television, based on the characters created by Neil Gaiman, Sam Kieth and Mike Dringenberg for DC Entertainment's Vertigo imprint, offers up the concept that everyone might have a chance at redemption ... even the Devil.
Even in the tiny genre of films based on songs, Convoy is a strange effort--CW McCall's 1977 CB radio-themed novelty hit was just a collection of trucker slang, but here it is gussied up by Sam Peckinpah (no less) as a big rig reprise of The Wild Bunch with Kris Kristofferson as trucker outlaw hero Rubber Duck and a wonderfully oversized Ernest Borgnine as "Dirty Lyle", the "bear" who hates "breakers" and finally decides to call in the National Guard to help him enforce traffic laws with machine guns. The plot is almost invisible, as Rubber Duck and his breaker buddies just up and decide to trundle their lorries across the Western States in a dash for Mexico (no one ever mentions delivering their loads to intended destinations) and becoming such a folk hero that the creepy governor (Seymour Cassell) tries to cash in. Kristofferson and Borgnine were old Peckinpah hands, as is heroine Ali MacGraw (a characterless photographer) and sidekick Burt Young ("Love Machine" aka "Pigpen"), and there's a lot of business about cops and outlaws who mirror each other, but the main attraction is the visuals--huge trucks rolling across desert roads in clouds of dust, police cars crashing through billboards, trucks demolishing a corrupt small town. There are traces of road-movie melancholia in the depressed cafes, jails and laybys where free spirits are broken, but it's still mostly a cash-in on Smokey and the Bandit with a few rags of poetry tossed into the mix. On the DVD: A letterboxed print, enhanced for 16x9, looks pretty good, with enough widescreen to get all the trucks into the image. But otherwise this is the sort of release that passes off "chapter search" and "multilingual menus" as extras, although there are basic filmographies for the principal and a poster/photo album. The mono soundtrack comes in English, French, Spanish and Italian. --Kim Newman
Laurel (Kazan) has always been the odd wallflower choosing to live at home with her father while her glamorous identical twin Audrey (Kazan) possesses the confidence and appeal to succeed in the big city. When tragedy strikes and Laurel is mistaken for her twin sister she makes the impulsive decision to assume her sister's identity and become The Pretty One. As she eases into her new independent existence Laurel discovers that she's capable of accomplishments she had never before had dreamed of: excelling in a career maintaining friendships and even finding love. Zoe Kazan (Ruby Sparks) Jake Johnson (TV's 'New Girl') and Ron Livingston (Drinking Buddies) star in this quirky comedic drama about family ties and second chances.
She was everything America wanted a movie star to be...except white Actress dancer singer. Here was a woman with talent beauty and ambition. Dorothy Dandridge owed it to herself to make it to the top. And make it she would. An acclaimed stage performer Dorothy still struggled with the challenge of her color in a time that wouldn't let some stars in by the front door. Yet against the odds she beat out many more famous rivals for the role of Carmen Jones becoming the first black woman ever nominated for a Best Actress Academy Award. Marriages and affairs would break her heart but her heart was strong. Seductive and easily seduced she was born to be a star - with all the glory and all the pain of being loved abused cheated glorified undermined and undefeated. Here was a woman who wouldn't wait in the wings. Halle Berry stars as Dorothy Dandrige.
This 1967 film took home lots of Oscars for its fascinating drama about a Philadelphia detective (Sidney Poitier) who assists a redneck Southern sheriff (Rod Steiger) in solving a murder. A study in racism that ebbs a bit through the collective and shared need between a black man and a white man who don't want to be working together, In the Heat of the Night continues to strike a chord today. Steiger is a mass of snarling danger, Poitier a bundle of nerves covered in class. Norman Jewison (Moonstruck) directs with a keen feeling for the cultural and social atmosphere of the setting. --Tom Keogh
Join Gregg Araki director of 'The Living End' and 'The Doom Generation' on a trip through a bizarre netherworld of lust longing and alien resurrection. Dark Smith (James Duval) is looking for love in all the wrong places. He's besotted by Mel (Rachel True) but she can't commit to any one person - or gender. And cruising the local L.A. hang-out The Hole he finds everyone else is having the same extreme relationship problems. Then he meets Montgomery (Nathan Bexton) and things sta
Track Listing: 01 Bizet: Carmen: Opening Titles (Stereo)02 Prlude (Stereo)03 Introduction: Sur la place chacun passe (Stereo)04 Marche et Choeur des gamins: Avec la garde montante (Stereo)05 Choeur ez Scne: La cloche a sonn (Stereo)06 Mais nous ne voyons pas la Carmencita? (Stereo)07 L'amour est un oiseau rebelle (Havanaise) (Stereo)08 Carmen! sur tes pas nous nous pressons tous! (Stereo)09 Parle-moi de ma mre! (Stereo)10 Ma mre, je la vois (Stereo)11 Au secours! (Stereo)12 Tra la la la ... (Stereo)13 Prs des remparts de Sville (Stereo)14 Final: Le lieutenant! Prenez garde... (Stereo)15 Entr'acte (Stereo)16 Chanson: Les tringles des sistres tintaient (Stereo)17 Couplets: Votre toast, je peux vous le rendre (Stereo)18 Quintette: Nous avons en tte une affaire! (Stereo)19 Chanson: Halte-l! Qui va l? (Stereo)20 Duo: Je vais danser en votre honneur (Stereo)21 La fleur que tu m'avais jete (Stereo)22 Non, tu ne m'aimes pas! (Stereo)23 Final: Hol! Carmen! Hol! (Stereo)24 Entr'acte (Stereo)25 Introduction: Ecoute, compagnon, coute! (Stereo)26 Trio: Mlons! Coupons! (Stereo)27 Voyons, que j'essaie a mon tour (Stereo)28 Quant au douanier, c'est notre affaire! (Stereo)29 Je dis que rien ne m'pouvante (Stereo)30 Je suis Escamillo (Stereo)31 Hol! hol! Jos! (Stereo)32 Entr'acte (between Acts III & IV) (Stereo)33 Les voici, les voici (Toreador Chorus) (Stereo)34 Si tu m'aimes, Carmen (Stereo)35 C'est toi! - C'est moi! (Stereo)36 Bizet: Carmen - End Credits (Stereo)01 Bizet: Carmen: Opening Titles (Surround Sound)02 Prlude (Surround Sound)03 Introduction: Sur la place chacun passe (Surround Sound)04 Marche et Choeur des gamins: Avec la garde montante (Surround Sound)05 Choeur ez Scne: La cloche a sonn (Surround Sound)06 Mais nous ne voyons pas la Carmencita? (Surround Sound)07 L'amour est un oiseau rebelle (Havanaise) (Surround Sound)08 Carmen! sur tes pas nous nous pressons tous! (Surround Sound)09 Parle-moi de ma mre! (Surround Sound)10 Ma mre, je la vois (Surround Sound)11 Au secours! (Surround Sound)12 Tra la la la ... (Surround Sound)13 Prs des remparts de Sville (Surround Sound)14 Final: Le lieutenant! Prenez garde... (Surround Sound)15 Entr'acte (Surround Sound)16 Chanson: Les tringles des sistres tintaient (Surround Sound)17 Couplets: Votre toast, je peux vous le rendre (Surround Sound)18 Quintette: Nous avons en tte une affaire! (Surround Sound)19 Chanson: Halte-l! Qui va l? (Surround Sound)20 Duo: Je vais danser en votre honneur (Surround Sound)21 La fleur que tu m'avais jete (Surround Sound)22 Non, tu ne m'aimes pas! (Surround Sound)23 Final: Hol! Carmen! Hol! (Surround Sound)24 Entr'acte (Surround Sound)25 Introduction: Ecoute, compagnon, coute! (Surround Sound)26 Trio: Mlons! Coupons! (Surround Sound)27 Voyons, que j'essaie a mon tour (Surround Sound)28 Quant au douanier, c'est notre affaire! (Surround Sound)29 Je dis que rien ne m'pouvante (Surround Sound)30 Je suis Escamillo (Surround Sound)31 Hol! hol! Jos! (Surround Sound)32 Entr'acte (between Acts III & IV) (Surround Sound)33 Les voici, les voici (Toreador Chorus) (Surround Sound)34 Si tu m'aimes, Carmen (Surround Sound)35 C'est toi! - C'est moi! (Surround Sound)36 Bizet: Carmen - End Credits (Surround Sound)
Tancredi was the work on which Rossini's reputation as a composer of tragic operas rested, just as L'Italiana in Algeri ("The Italian Girl in Algiers") had been his first comic masterpiece. Inevitably, given the opera seria conventions within which he was working, it can seem terribly static nowadays--this is a work whose stage action consists almost exclusively of entrances and exits, and of characters emoting in various combinations--but when the emotions are as powerful as those here it hardly matters. The breeches part of Tancredi is one of Rossini's most powerfully lyrical: Bernadette Manca de Nisa is especially moving in the famous aria "Di Tanti Palpiti". The heroine Amenaide, wrongfully accused of treason, has the most to do emotionally, and Maria Raul is suitably touching, collapsing decorously to the floor as a way of conveying extremes of shame or incredulous hurt. Ildebrando D'Arcangelo does what he can with the stiff villain, Orbazzano. In some ways, the star of the performance is Raul Giménez in the unpromising role of Amenaide's much-deceived father Argirio, combining authority with pain and making both highly musical. Throughout, Gianluigi Gelmetti's intelligent conducting of the Stuttgart Radio Symphony Orchestra makes the delicate sides of the scoring matter most:he has learned from original instrument performances how to bring out the plangency of Rossini's woodwind writing.On the DVD: The DVD has no additional features except for subitles in Italian, French, German, English and Spanish and menus in French, Spanish, German and English. The sound is presented perfectly adequately but unexcitingly in PCMstereo and the picture ratio is 4:3. --Roz Kaveney
All nine films in the science-fiction franchise thus far. In 'Planet of the Apes' (1968) a group of astronauts, led by George Taylor (Charlton Heston), crash-lands on a strange planet where mute humans are treated as slaves by intelligent apes. Taylor is hunted down and captured by horse-riding gorillas and then taken for experimentation by chimpanzee Dr Zira (Kim Hunter). When Zira discovers Taylor's intelligence, she and her fiancé Cornelius (Roddy McDowall) appeal to the governing council on his behalf, but the appeal fails, leaving the astronaut no choice but to go on the run. Fleeing for his freedom, Taylor soon makes a shocking discovery about the provenance of this strange planet. In 'Beneath the Planet of the Apes' (1970) astronaut Brent (James Franciscus) is on a special mission to rescue George Taylor. After travelling to the ape village where he was imprisoned, he meets Dr Zira and learns that Taylor was last seen in the Forbidden Zone. Setting off in pursuit he soon discovers that his colleague has been taken prisoner by an underground society of telepathic mutant humans who worship an atomic warhead. In 'Escape from the Planet of the Apes' (1971) Dr Zira, Cornelius and Dr Milo (Sal Mineo) escape the nuclear devastation of Earth by travelling back in time in Taylor's spaceship, arriving in Los Angeles in the year 1973. They are initially held in captivity in a zoo, where Milo is attacked and killed by a savage gorilla. When Zira and Cornelius prove their intelligence they are released and hailed as celebrities, but some resent the apes' arrival, seeing them as a threat to human supremacy. In 'Conquest of the Planet of the Apes' (1972) the year is now 1991. Caesar (McDowall), the son of Zira and Cornelius, has been sheltered for 18 years by circus owner Armando (Ricardo Montalban). Following a plague which wiped out all cats and dogs, apes have been adopted as pets by humans, but when Caesar sees them being treated as slaves, he leads his fellow simians i
The classic tale of Tom Jones a boy who is adopted in childhood by the kindly Squire Allworthy adapted from the novel written by Henry Fielding. As a result he becomes a privileged gentleman but one with a roving eye. Soon an amorous indiscretion results in him being exiled from his home...
Spencer Tracy's last performance was in this well-meaning, handsome film by Stanley Kramer about a pair of white parents (Tracy and Katharine Hepburn) trying to make sense of their daughter's impending marriage to an African American doctor (Sidney Poitier). Guess Who's Coming to Dinner has been knocked over the years for padding conflict and stoking easy liberalism by making Poitier's character in every socioeconomic sense a good catch: but what if Kramer had made this stranger a factory worker? Would the audience still find it as easy to accept a mixed-race relationship? But there's no denying the drawing power of this movie, which gets most of its integrity from the stirring performances of Tracy and Hepburn. When the former (who had been so ill that the production could not get completion insurance) gives a speech toward the end about race, love and much else, it's impossible not to be affected by the last great moment in a great actor's life and career. --Tom Keogh
Fanny and Alexander is one of the more upbeat and accessible films from Ingmar Bergman. This autobiographical story follows the lives of two children during one tumultuous year. After the death of the children's beloved father, a local theatre owner, their mother marries a strict clergyman. Their new life is cold and ascetic, especially when compared to the unfettered and impassioned life they knew with their father. Most of the story is seen through the eyes of the little boy and is often told in dreamlike sequences. Colourful, insightful, and optimistic, this is far less grim than most of Bergman's work. It was awarded four of the six Oscars for which it was nominated in 1984, including Best Foreign Language Film. Though this was announced as his last film, Bergman continued to work into the late 1990s, though mostly for Swedish television.--Rochelle O'Gorman, Amazon.com
Anna Battista (Argento) is a young popular 24-year-old Italian-born International film actress who engages herself on a hectic and self-destructive spree which takes her across Europe and America to become an ""artist"" in order to write and direct herself in a semi-biography movie of herself titled ""Scarlet Diva""...
Elvis: Films That Rock contains three of the King's early screen efforts: Love Me Tender (1956), Flaming Star (1960) and Wild in the Country (1961). It's pointless to suggest that they aren't among Elvis's best movies (you'll have to look elsewhere for King Creole and Jailhouse Rock, which probably are), partly because any fan's going to want them all anyway, but also because all three are interesting in their different ways. Love Me Tender, made in black and white in 1956, was Presley's first stab at acting, and this story of a family split by the American Civil War--one brother goes off to fight, the other doesn't--sees him short on screentime and being upstaged by pretty much everyone else. That said, it was a reasonably brave move for Presley to begin his movie career by dealing with this kind of subject matter, however sentimentalised. Four years later, Flaming Star took the steer by the horns with Presley portraying a young man of mixed parentage caught up in the ethnic conflict between Native Americans and the white race. Again, a brave choice of subject; this was a landmark movie insofar as it showed Presley certainly had enough acting ability to create a credible parallel career along the lines of, say, Sinatra. It wasn't to be, though, as even then his talents were being manipulated by others, which is why all his later movies--even the best ones--were little more than advertisements for his records. Wild in the Country, from the following year, saw Presley as a young tearaway who finds redemption in his talent for writing. It's pure melodrama, but the moralising is kept under control. This is a nice little collection, all in all, and an essential for any fan. On the DVD: Elvis: Films That Rock presents the three pictures in positively radiant transfers, which are absolutely gunge-free and make the very best of the beautifully stylised lighting and cinematography of the period, while the classic Cinemascope presentations translate perfectly into widescreen. Special features include trailers for all three movies. --Roger Thomas
Robert Altman's a biting satire on the Hollywood industry, The Player, has always been acknowledged by insiders as too close to the truth for comfort. Opening with a self-referential nine-minute tracking shot around the studio lot where producer Griffin Mill (Tim Robbins) works, the story's intrigue begins with the first of several postcard death threats from a writer he's angered. After accidentally killing the wrong man, Mill moves from one star-studded lunch table to another. All the while he's hounded by the real writer and an obsession with "Ice Queen" artist June Gudmundsdotter (Greta Scacchi) who'd been the deceased's girlfriend. Altman's tradition of improvised dialogue makes each of the dozens of cameos a fascinating treat for movie fans. Blink and you'll miss Angelica Houston, John Cusack, Rod Steiger, or Bruce Willis and Julia Roberts who appear in the hilarious movie-within-a-movie finale. There's an endless list of terrific support from the likes of dry-witted Fred Ward, fly-swatting Lyle Lovett, or tampon-twirling Whoopi Goldberg. Aside from the star-spotting and a script that crackles with sharp dialogue, this also warrants acknowledgement for being the movie to set off an explosion of independent film in the Nineties. On the DVD: there's a commentary track (which leaves the film's soundtrack playing a little too loud) from director Altman who talks at length about the poor state of today's industry, and writer Michael Tolkin who contributes about ten minutes of veiled displeasure about the treatment of a writer's work. There are five grainy deleted scenes featuring lost cameos from Tim Curry, Jeff Daniels, and Patrick Swayze. Then in a 16-minute featurette a lot of the deleted footage is repeated around an interview with Altman. A trailer rounds out the package. --Paul Tonks
After several excursions into supernatural horror, Dario Argento returned to the homicidal frenzy that made his reputation with this mystery that plays more like a grown-up slasher movie than a detective thriller. Anthony Franciosa stars as Peter Neal, a best-selling horror novelist whose promotional tour in Italy takes a terrible turn when a mysterious killer recreates the brutal murders from his book with real-life victims. The first to die are so-called "deviants", Neal's own friends and finally there comes a promise that the author himself is next on the list. Columbo it ain't, but Argento has always been more concerned with style than story and his execution of the crimes is pure cinematic bravura. From the simple beauty of a straight razor shattering a light bulb (the camera catches the red-hot filament slowly blacking out) to an ambitious crane shot that creeps up and over the sides of a house under siege in a voyeuristic survey that would make Hitchcock proud, Argento turns the art of murder into a stylish spectacle. He even lets his kinkier side show with flashbacks of an adolescent boy and a teasing dominatrix in red stiletto heels that become a key motif of the film. The objects of Argento's homicidal tendencies are traditionally lovely, scantily clad Italian beauties, and with self-deprecating humour he even inserts a scene in which Neal is taken to task for the misogynist violence of his stories--an accusation Argento himself has weathered for years. --Sean Axmaker
Starring Milla Jovovich (Resident Evil franchise) and Pierce Brosnan (Bond franchise), SURVIVOR is a gripping thriller about State Department employee Kate Abbott (Jovovich), newly posted in the American embassy in London. Kate is charged with stopping terrorists from getting into the U.S. which puts her directly in the line of fire: targeted for death, framed for crimes she didn't commit, discredited and on the run. Now she must find a way to clear her name and stop a large-scale terrorist attack set for New Year's Eve in New York's Times Square.
When a radioactve spill causes mass contamination thousands of infected citizens are transformed into bloodthirsty undead fiends. But these are not your standard stumbling gut-munchers; this is an all-out attack by fast-moving flesh-ripping ass-kicking maniacs that can only be stopped by a bullet to the brain... Get ready for an all-you-can-eat buffet of gunfire gore and gratuitous aerobics where zombies run chaos reigns and heads explode. This is Nighmare City!
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