A key film of the British New Wave 'Saturday Night And Sunday Morning' was a great box-office success - audiences were thrilled by its anti-establishment energy the gritty realism of its setting and most of all by a working-class hero of a fresh and outspoken kind. Based on Alan Sillitoe's largely autobiographical novel the film is set in the grim industrial streets and factories of Nottingham where Arthur Seaton spends his days at a factory bench his Saturday evenings in the local pubs and his Saturday nights with Brenda (Rachel Roberts) wife of a fellow factory worker. Played by Albert Finney with an irresistable animal vitality Arthur is anti-authority (Don't let the bastards grind you down) and unashamedly amoral (What I'm out for is a good time. All the rest is propoganda). With powerful central performances cracking dialogue by Sillitoe and a superb jazz score by Johnny Dankworth 'Saturday Night And Sunday Morning' still stands as a vibrant modern classic.
On September 28 2004 two twelve year old boys landed a twin engine airplane on Highway 89 approximately thirty miles east of Cooper Arizona. The details of how Jason McIntyre and Kyle Barrett came to be alone on the aircraft were never fully confirmed. What happened to the boys after the police returned them to their homes is unbelievable...
Scarface (Dir. Brian De Palma 1983): In the spring of 1980 the port at Mariel Harbour was opened and thousands set sail for the United States. They came in search of the American Dream. One of them found it on the sun-washed avenues of Miami... wealth power and passion beyond his wildest dreams. He was Tony Montana. The world will remember him by another name - Scarface! Al Pacino gives an unforgettable performance as Tony Montana one of the most ruthless gangsters ever d
Carl Denham (Robert Armstrong) returns to Skull Island where he found the original Kong in search of rumoured treasure. He finds the diamonds and something even more remarkable - Kong's son who has a winning personality and amazing strength. Denham along with damsel in distress (Helen Mack) rescues Kong from a quicksand pit and in return the appreciative and playful ape makes sure to defend them from any creatures that threaten Denham and his crew. But when a mighty earthquake strikes Skull Island even the son of Kong may not be powerful enough to save them...
Despite her parents' disapproval Brianne is determined to marry Clay. At first the marriage is a success but gradually Clay becomes more and more physically and emotionally abusive to his family. One night in a bar a man tries to chat up Brianne and Clay shoots him dead. To try and deceive the authorities Brianne admits to shooting the man by accident. This plan misfires and the couple are both imprisoned for life. When Brianne's father dies Brianne is faced with the possibility of losing custody of their only child Lily. Is her love for Clay strong enough?.. Based on a true story.
Robert Redford stars as a wrongly convicted five star General who turns his fellow inmates into an army and threatens to take over the prison.
Having made his reputation as one of the most prolific and gifted horror writers of his generation (prompting Stephen King to call him "the future of horror"), Clive Barker made a natural transition to movies with this audacious directorial debut from 1987. Not only did Barker serve up a chilling tale of devilish originality, he also introduced new icons of horror that since have become as popular among genre connoisseurs as Frankenstein's monster and the Wolfman. Foremost among these frightful, Hellraiser visions is the sadomasochistic demon affectionately named Pinhead (so named because his pale, bald head is a geometric pincushion and a symbol of eternal pain). Pinhead is the leader of the Cenobites, agents of evil who appear only when someone successfully "solves" the exotic puzzle box called the Lamont Configuration--a mysterious device that opens the door to Hell. The puzzle's latest victim is Frank (Sean Chapman), who now lives in a gelatinous skeletal state in an upstairs room of the British home just purchased by his newlywed half-brother (Andrew Robinson, best known as the villain from Dirty Harry), who has married one of Frank's former lovers (Claire Higgins). The latter is recruited to supply the cannibalistic Frank with fresh victims, enabling him to reconstitute his own flesh--but will Frank succeed in restoring himself completely? Will Pinhead continue to demonstrate the flesh-ripping pleasures of absolute agony? Your reaction to this description should tell you if you've got the stomach for Barker's film, which has since spawned a number of interesting but inferior sequels. It's definitely not for everyone, but there's no denying that it's become a semiclassic of modern horror. --Jeff Shannon
Jill Young (Terry Moore) has brought up Joe her pet gorilla since she was a child in Tanzania Africa but when the gorilla becomes fully grown its strength is incredible. Hollywood promoter Max O'Hara (Robert Armstrong) convinces Jill to bring her extraordinary gorilla back to America to star in his nightclub floorshow with Jill as the Jungle Queen commanding the Mighty Joe Young. The opening night is a resounding success but as Joe becomes more exploited the novelty soon wears off for the caged animal and his loving owner. As Joe rests in his basement cage a group of drunks torment him with alcohol and cigarettes until Joe bursts from his shackles and goes on a destructive rampage...
Buffalo Bill (Paul Newman) plans to put on his own Wild West sideshow and Chief Sitting Bull has agreed to appear in it. However Sitting Bull has his own hidden agenda involving the President and General Custer...
The first thing you need to know about Sleepers is that it's based on a novel by Lorenzo Carcaterra that was allegedly based on a true story. The movie repeats this bogus claim, which was attacked and determined by a wide majority to be misleading. Knowing this, Sleepers becomes problematic because it's too neat, too clean, too manipulative in terms of legal justice and dramatic impact to be truly convincing. And yet, with its stellar cast directed by Barry Levinson, it succeeds as gripping entertainment, and its tale of complex morality--despite a dubious emphasis on homophobic revenge--is sufficiently provocative. It's about four boys in New York's Hell's Kitchen district who are sent to reform school, where they must endure routine sexual assaults by the sadistic guards. Years after their release, the opportunity for revenge proves irresistible for two of the young men, who must then rely on the other pair of friends (Brad Pitt, Jason Patric), a loyal priest (Robert De Niro), and a shabby lawyer (Dustin Hoffman) to defend them in court. Despite the compelling ambiguities of the story, there's never any doubt about how we're supposed to feel, and the screenplay glosses over the story's most difficult moral dilemmas. At its best, Sleepers grabs your attention and pulls you into its intense story of friendship and the price of loyalty under extreme conditions. The movie's New York settings are vividly authentic, and Minnie Driver makes a strong impression as a long-time friend of the loyal group of guys. --Jeff Shannon, Amazon.com
Belle's Magical World is a straight-to-video animated story set in the Beast's castle, which, as viewers know from the original Beauty and the Beast film, is under a spell until the Beast can learn to love. Starting with this familiar premise, it plummets into three disjointed episodes surrounding Belle's life as a captive in the castle. In "The Perfect World" a misunderstanding of words erupts between Belle and the Beast, made worse by a feigned apology. Fifi and Lumiere take the spotlight in "Fifi's Folly" when a romantic evening together becomes a chilling adventure inside a runaway sleigh. In "The Broken Wing" Belle entreats the Beast to act kindly toward a tiny songbird. Each tale offers a diluted moral message, yet the entire effort feels contrived and confusing. --Lynn Gibson The film that officially signalled Disney's animation renaissance and the only animated feature to receive a Best Picture Oscar nomination, Beauty and the Beast remains the yardstick by which all other animated films should be measured. It relates the story of Belle, a bookworm with a dotty inventor for a father; when he inadvertently offends the Beast (a prince whose heart is too hard to love anyone besides himself) Belle boldly takes her father's place, imprisoned in the Beast's gloomy mansion. Naturally, Belle teaches the Beast to love. What makes this such a dazzler, besides the amazingly accomplished animation and the winning coterie of supporting characters (the Beast's mansion is overrun by quipping, dancing household items) is the array of beautiful and hilarious songs by composer Alan Menken and the late, lamented lyricist Howard Ashman, (winning the 1991 Oscar for Best Song and Menken's score won a trophy as well). The downright funniest song is "Gaston" a lout's paean to himself (including the immortal line: "I use antlers in all of my de-co-ra-ting"). "Be Our Guest" is transformed into an inspired Busby Berkeley homage. Since Ashman's passing, animated musicals haven't quite reached the same exhilarating level of wit, sophistication and pure joy. --David Kronke
"Raging Bull" is arguably the finest work from the Scorsese and De Niro partnership. De Niro gives an amazing portrayal of a man whose animal side lurks just beneath the surface, ever ready to erupt.
A plane plummets from the sky above the jungles of Mexico crashing into the dense dangerous undergrowth. In the wreckage four medics lie seriously wounded - some near death. Amidst this hell-on-earth they have one hope: a group of nurses with little medical experience working at a remote clinic for the poverty-stricken local people. Only the nurses' compassion and dedication can defeat the odds and save the lives of the four distinguished doctors. But deep in the jungle with their medical supplies plundered by bandits and a violent drugs war raging round them the odds against success in this life-or-death mission seem overwhelming...
After witnessing a mob hit Frank Johnson goes on the run fearing for his life. Inspector Ferris and Detective Shaw are suspicious when they interview his uncooperative and seemingly uncaring wife Eleanor. But when Eleanor is approached by tabloid reporter Danny Leggatt offering to help find her husband it appears Leggatt is not all he seems! The riveting twists and turns together with the acerbic wit and charisma of the leading lady keep this thriller bubbling along as we head for a dramatic final showdown. San Francisco is cleverly used as an extra character in this enjoyable exciting and engaging film set firmly in the film noir genre with great performances from a strong cast.
Ted Striker: ""Surely you can't be serious?"" Dr. Rumack: ""I am serious... and don't call me Shirley."" Voted ""one of the ten funniest movies ever made"" by the American Film Institute Airplane! is a masterpiece of off-the-wall comedy. Featuring Robert Hays as an ex-fighter pilot forced to take over the controls of an airliner when the flight crew succumbs to food poisoning; Julie Hagerty as his girlfriend/ stewardess/ co-pilot; and a cast of all-stars inclu
A daring experiment in unconventional narrative inspired by Arthur C Clarke's short story "The Sentinel", 2001: A Space Odyssey is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution. When Stanley Kubrick recruited Clarke to collaborate on "the proverbial intelligent science fiction film", it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience with the result. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. In keeping with the director's underlying theme of dehumanisation by technology, the notorious, seemingly omniscient, computer HAL 9000 has more warmth and personality than the human astronauts it is supposedly serving. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its post-millennial space exploration has proven optimistic compared to reality. Still, the film is timelessly provocative in its pioneering exploration of inner and outer-space consciousness. With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone--puzzling, provocative and perfect. --Jeff Shannon, Amazon.com
Lots of action and an abundance of music take center stage in this classic Roy Rogers' western. The action takes place in the frontier town of Caliente California shortly after that state's admittance to the Union. It is a turbulent time when land-hungry settlers fortune hunters and outlaws threaten the existence of the Old Spanish dons and their sprawling ranchos. Roy stars as the right-hand man for one of the Spanish aristocrats Don Miguel (Frank Puglia). Another of the original Spanish-Americans Delgado (Jack LaRue) robs Don Miguel's son of $40 000 and places the blame on the upstart American settlers. It's up to Roy to settle accounts which he does in an exciting fight at the edge of the ocean.
In the ultra-violent Spaghetti Western Django Kill! Tomas Milian stars as The Stranger a half-breed bandit left for dead by his double-crossing gang members who have made off with the gold they have stolen from a US army detachment. Rising from the grave he sets about seeking revenge aided by a pair of mystic Native Americans and armed only with a pistol and a supply of golden bullets. The Stranger's quest leads him to a strange town known only as The Unhappy Place. There he fin
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