A BRAND NEW RESTORATION COMMEMORATING THE 75TH ANNIVERSARY OF THE ORIGINAL WWII RAID A much-loved British classic, Michael Anderson's 1955 drama captures the tension and bravery of an audacious raid on the center of Nazi Germany's industrial complex and the quintessentially English combination of inventiveness and dogged determination. Split into two distinct sections, the film deals first with the fraught, but the ultimately successful development of a new bomb, by Dr. Barnes N. Wallis (Michael Redgrave). The second deals with the mission itself during the British raid on the Ruhr Dams, and its associated costs for the enemy and for the British airmen. Adapted by R.C. Sherriff from Paul Brickhill's book Enemy Coast Ahead and featuring superlative special effects photography by Gilbert Taylor (to say nothing of Eric Coates' stirring theme tune), The Dam Busters was Britain's biggest box office the success of 1955
Freddy Heflin (Stallone in a critically acclaimed performance) is a simple small-town Sheriff who had big dreams of becoming a New York City cop before a heroic deed left him deaf in one ear. Though he saved the life of the woman he loves (Annabella Sciorra - The Hand That Rocks The Cradle) she went on to marry someone else. But everything in Freddy's life is about to change! After he uncovers evidence of a murder fakes suicide and police tampering Freddy must choose between the men he idolises the woman he adores and the law he's sworn to defend.
From its cleverly choreographed opening sequence to its heart-stopping climax on a rampant carousel, this 1951 Hitchcock classic readily earns its reputation as one of the director's finest examples of timeless cinematic suspense. It's not just a ripping-good thriller but a film student's delight and a perversely enjoyable battle of wits between tennis pro Guy (Farley Granger) and his mysterious, sycophantic admirer, Bruno (Robert Walker), who proposes a "criss-cross" scheme of traded murders. Bruno agrees to kill Guy's unfaithful wife, in return for which Guy will (or so it seems) kill Bruno's spiteful father. With an emphasis on narrative and visual strategy, Hitchcock controls the escalating tension with a master's flair for cinematic design, and the plot (coscripted by Raymond Chandler) is so tightly constructed that you'll be white-knuckled even after multiple viewings. Strangers on a Train remains one of Hitchcock's crowning achievements and a suspenseful classic that never loses its capacity to thrill and delight. --Jeff Shannon
A chronicle of country music legend Johnny Cash's life, from his early days to his rise to fame.
Agent 007 (Roger Moore in his final outing as James Bond) races against time to stop a power-mad industrialist (Christopher Walken) who plots to kill millions in order to corner the world's microchip supply. From the Eiffel Tower to the top of the Golden Gate Bridge James Bond can't be stopped.
The incomparable Alfred Hitchcock presents a collection of his finest suspenseful thrillers! Includes: 1. Strangers On A Train (1951) 2. Stage Fright (1950) 3. I Confess (1953) 4. Dial M For Murder (1954) 5. The Wrong Man (1956) 6. North By Northwest (1959)
Harold Pinter's first full-length stage play, The Birthday Party, was 10 years old when William (The Exorcist) Friedkin directed it for the cinema in 1968. In some ways, it was already a period-piece by then, Pinter's use of a combination of silence and excruciatingly banal dialogue to generate precipitous dramatic tension having been absorbed by contemporary theatrical mythology long since. Are the sinister McCann and Goldberg real? Or do they exist only in Stan's head? At the end, we're none the wiser. But Friedkin's claustrophobic direction, with the tormented Stan as its focus, has taken us through a master study in understated horror. The handheld camera, so fashionable in modern television drama, has rarely been used to such hypnotic effect. As Stan, Robert Shaw is mesmerising in his descent to animal-like submission. Sydney Tafler's Goldberg and Patrick Magee 's McCann make a truly terrifying double act. Cult television fans will appreciate an early appearance by Helen Fraser (these days best known as a sadistic prison warder in Bad Girls) as the easily seduced neighbour. Now that Friedkin's film is itself over 30 years old, the scent of mothballs ought to be even more pronounced. Its decrepit seaside boarding house setting and the drabness of the peripheral players are redolent of the distinctly non-swinging side of the 1960s in which it was made. But more than anything, The Birthday Party is about unspecified terror and the sort of inner demons that lurk in all of us. On the DVD: Excellent sound quality helps to make this a compellingly theatrical experience: never has the noise of tearing newspaper been more menacing. And the picture quality retains the grainy authenticity of the original print. Special features include brief backgrounders on the history of the play and Friedkin's career, and a slide show of still s from key scenes. --Piers Ford
When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in the ridiculous Showgirls. That says it all: this sleazy, stupid movie, which mixes soft pornography with the clichés of backstage dramas, is the kind of project an aspiring actress would have to put well behind her to keep a career going (though co-star Gina Gershon certainly benefited from her, uh, exposure in the film). Berkley plays a drifter who hitches a ride to Las Vegas, becomes a lap dancer and then a performer, and discovers--gasp!--there's a whole world of sex and violence involved with these things. Gershon is probably the best element in the film, playing Berkley's bisexual rival for the big spotlight on stage. Joe Eszterhas was well overpaid for writing this howler, and director Paul Verhoeven (Basic Instinct) should have known better than to take it seriously. --Tom Keogh, Amazon.com
Four friends break into an abandoned insane asylum in search of a death certificate which will grant one of them a large inheritance. However, finding it soon becomes the least of their worries in a place haunted by dark memories.
Based on the chilling events surrounding the disappearance of a government forester in 1975 Fire In The Sky is a gripping tale of alien abduction and the fight to uncover the truth about an incident no-one could explain. Starring Henry Thomas and Robert Patrick as members of a gang of loggers working in the woodlands of North East Arizona the story focuses on the disappearance of one of the group and the claims by his friends that he was abducted by a UFO. When the friends are accu
The complete collection of terrifying tales from Brian Clemens' classic series. Famed scriptwriter Brian Clemens is probably best known for his work on 'The Avengers' and 'The Professionals' but arguably the his best work is 'Thriller' a series he made for Lew Grade in the mid 1970s. 'Thriller' is an antholoy series of single plays - some horrific some terrifying - but always with a singular twist in the tale. Highly popular and critically acclaimed in its time 'Thriller' attra
A witch hunt has begun. The hunters are politicians sitting before clicking cameras in HAUC hearing rooms. Hollywood is on trail. An David Merrill is asked to 'name names'. This powerful directorial and screenwriting debut of veteran producer Irwin Winkler vividly recreates the creative community's infamous Blacklist era. De Niro plays Merrill an A-list director who can revive his stalled career by testifying against friends who are suspected communists. Annette Bening is Merrill's e
After a tragedy shatters their lives and leaves them with crippling phobias five people decide to seek treatment from Dr. Andover (Robert Englund) who works to cure patients by placing them inside his “Fear Chamber.” Once inside his invention patients are put into complete isolation and must face their worst fears in nightmarish hallucinations. However soon after treatment and outside the confines of the chamber they discover their fears are not only still there but are more real than ever....
Although it lacks the creepy subtleties of Stephen King's celebrated novel, George Romero's underrated adaptation of The Dark Half is among the best films based on King's fiction, with Romero taking care to honour the central theme while serving up some gruesome gore in the film's much-criticised finale. Inspired by King's own admission that he wrote several novels under the pseudonym Richard Bachman, The Dark Half explores the duality of a writer's impulse, ranging from literary respectability to the viscerally cathartic thrills of exploitative pulp fiction. Author and teacher Thad Beaumont (Timothy Hutton) finds himself torn between those extremes when he "kills" his profitable alter ego, George Stark (the bestselling dark half to Thad's light), who then assumes evil, autonomous form (again played by Hutton) to defend lethally his role in Thad's creative endeavours. Forced to wrestle with this evil manifestation of his own unformed twin, Thad must fight to protect his wife (Amy Madigan), their twin babies and himself. While Romero skilfully develops the twin/duality theme to explore the writer's dilemma, Hutton is outstanding in his dual roles, playing Stark (in subtly fiendish makeup) as a redneck rebel with a knack for slashing throats. Julie Harris adds class in a supporting role, and horror fans will relish Romero's climactic showdown, in which swarms of sparrows seal Stark's fate. It favours a pulp sensibility with clunky exposition to explain Stark's existence, but The Dark Half is a laudable effort from everyone involved. --Jeff Shannon, Amazon.com
This horrible misfire from the usually reliable writer-director Andrew Bergman (The Freshman) has nothing funny, provocative, timely or interesting to say (despite being based on a novel by Carl Hiaasen) once Demi Moore gets her clothes off. Moore plays a single, unemployed mum caught up in a custody battle who elects to make some money by stripping at a club. The character's troubles don't end there, however: her ex-husband is posing a threat, and a perverted congressman (Burt Reynolds) is looking for more than a lap dance. Bergman's great wit is nowhere in sight, and the film primarily becomes another opportunity for Moore to function like a special effect. --Tom Keogh, Amazon.com
Bombastic, pretentious and narcissistic, Led Zeppelin's The Song Remains the Same is also one of the best concert films of the 1970s, capturing the greatest rock band of the decade in full flight at Madison Square Gardens in 1973. The notorious "fantasy sequences" punctuate the musical action but don't, fortunately, interrupt it. Playing true to their self-indulgent rock & roll personas, each band member has his own segment, as does legendary larger-than-life manager Peter Grant. Only John Bonham's is reasonably down-to-earth: during his mammoth drum solo ("Moby Dick") he is seen driving his custom car, his Harley chopper, and a drag racer at Santa Pod, as well as inspecting bulls and doing a bit of building work. Well, what else would a working-class lad from Birmingham do with his millions? Elsewhere, John Paul Jones is a demented Phantom of the Opera with an unfeasibly large organ ("No Quarter"); Robert Plant is a quasi-Arthurian knight errant rescuing a suitable rock-chick damsel in distress ("The Song Remains the Same/Rain Song"); while Aleister Crowley acolyte Jimmy Page goes in for sorcery and mysticism as he encounters the wizard from the cover of Led Zep IV ("Dazed & Confused"). But the real magic is the onstage footage: Page wields his Gibson Les Paul as if he is indeed enchanted (the violin bow becomes his magician's wand in "Dazed & Confused"), while Plant preens and prowls his way around the stage, the very image of the rock idol; and quite how Jones and Bonham managed to be such a behemoth of a rhythm section is still a mystery. For all its many faults, this remains an essential document of an era when rock dinosaurs still walked the earth. On the DVD: No extra features to speak of at all, which is extremely disappointing given the wealth of archive material concerning the band and this movie that must be available. The picture and sound are respectable without being exceptional. --Mark Walker
The Sean Connery Collection. The Untouchables: Brian De Palma's 'The Untouchables' is a must-see masterpiece: set to a classic Ennio Morricone score this is the glorious and fierce depiction of the larger than life mob warlord who ruled Prohibition-era Chicago - and the law enforcer who vowed to bring him down. This classic confrontation between good and evil stars Kevin Costner as federal agent Eliot Ness Robert De Niro as gangland kingpin Al Capone and Sean Connery
B-movie mavens turned A-list genre fiends Robert Rodriguez and Quentin Tarantino teamed up in 1996 to take vampire gothic south of the border into spaghetti Western territory for the gory cult film From Dusk Till Dawn. The high-concept mix of southwestern criminals versus supernatural nasties proved too irresistible for either of the video-hound creators to allow it to remain dead (or undead, as the case may be), so they plotted and produced a pair of direct-to-video sequels. Tarantino takes a story credit on the first, a heist film coscripted and directed by Scott Speigel. A Mexican bank robbery helmed by drawling criminal Robert Patrick (Terminator 2) turns into a literal bloodbath when his crew are turned into hungry bloodsuckers. Speigel, a buddy of Sam Raimi, tops both Tarantino and Rodriguez for sheer cinematic acrobatics, putting his camera in the most absurd places (even from inside the mouth of a vampire chomping down on a victim) and driving the film with adrenaline-charged overkill, but despite some clever scenes and a hilarious Psycho spoof, From Dusk Till Dawn 2--Texas Blood Money turns into another aggressively trashy latex-mask and rubber-bat gorefest as cops and robbers team up against the fanged gang. Bo Hopkins costars as the police detective dogging Patrick's trail. Bruce Campbell and Tiffani-Amber Thiessen make cameos in the jokey opening sequence and Speigel and fellow director Kevin Smith briefly appear as vampire bait. Bartender Danny Trejo is the only returning cast member. --Sean Axmaker
As noted critic Pauline Kael wrote, the 1987 box-office hit The Untouchables is "like an attempt to visualise the public's collective dream of Chicago gangsters". In other words, this lavish reworking of the vintage TV series is a rousing pot-boiler from a bygone era, so beautifully designed and photographed--and so craftily directed by Brian De Palma--that the historical reality of Prohibition-era Chicago could only pale in comparison. From a script by David Mamet, the film pits four underdog heroes (the maverick lawmen known as the Untouchables) against a singular villain in Al Capone, played by Robert De Niro as a dapper Caesar holding court (and a baseball bat) against any and all challengers. Kevin Costner is the naive federal agent Eliot Ness, whose lack of experience is tempered by the streetwise alliance of a seasoned Chicago cop (Sean Connery, in an Oscar-winning performance), a rookie marksman (Andy Garcia) and an accountant (Charles Martin Smith) who holds the key to Capone's potential downfall. The movie approaches greatness on the strength of its set pieces, such as the siege near the Canadian border, the venal ambush at Connery's apartment and the train-station shootout partially modelled after the "Odessa steps" sequences of the Russian classic Battleship Potemkin. It's thrilling stuff, fuelled by Ennio Morricone's dynamic score, but it's also manipulative and obvious. If you're inclined to be critical, the film gives you reason to complain. If you'd rather sit back and enjoy a first-rate production with an all-star cast, The Untouchables may very well strike you as a classic. --Jeff Shannon, Amazon.com
Season Two, the 1994-95 run, of The X Files was the one where creator Chris Carter, having had a surprise hit when he expected a one-season wonder, started trying to make sense of all the storylines he had thrown into the pile in the first year. Moreover, he had to cope with Gillian Anderson's maternity leave by having Scully get abducted by aliens (back then, a pretty fresh device) for a few episodes and come back strangely altered. The season also inaugurated the tradition of opening ("Little Green Men") and closing ("Anasazi") with the show's worst episodes, both pot-boiling attempts to keep the alien infiltration/government conspiracy balls up in the air while seeming to offer narrative forward-thrusts or revelations.But it's also a show noticeably surer of itself than Season One, with its stars reading from the same page in terms of their characters' relationship and attitudes to the wondrous. Scully's no-longer-workable scepticism finally starts to erode in the face of Mulder's increasingly cracked belief. There are fewer marking-time leftover-monster-of-the-week shows--although we do get a human fluke ("The Host"), vampires ("3"), an invisible rapist ("Excelsius Dei") voodoo ("Fresh Bones")--and the flying-saucer stories at last seem to be going somewhere. The powerful two-episode run ("Duane Barry", "Ascension") features Steve Railsback as Mulder's possible future, an FBI agent burned out after a UFO abduction who has become a hostage-taking terrorist, which climaxes with Scully's disappearance into the light. The standout episode is also a stand-alone--"Humbug"--the first and still most successful of the show's self-parodies (written by Darin Morgan, who had played the Flukeman in "The Host"), in which the agents investigate a murder in a circus freakshow, allowing the actors to make fun of the mannerisms they have earnestly built up in a run of solemn, even somnolent, explorations of the murk. Other worthy efforts: "Aubrey", about genetic memory; "Irresistible", a rare (and creepy) straight psycho-chiller with little paranormal content; and "The Calusari", a good ghost/mystery. Rising deputy characters include Nicholas Lea as the perfidious Krycek and Brian Thompson as the shapeshifting alien bounty hunters. Notable guest stars: Charles Martin Smith, C.C.H. Pounder, Leland Orser, Terry O'Quinn, Bruce Weitz, Daniel Benzali, John Savage, Vincent Schiavelli, Tony Shalhoub. --Kim NewmanOn the DVD: The individual episode discs have a small selection of deleted scenes, foreign language clips and behind-the-scenes footage, but the bulk of the extra material is on the final disc. There's not a lot to get to grips with, but what there is consists of a 14-minute documentary about the making of Season Two, with contributions from Chris Carter, various directors, writers and actors (but not the two principals); Carter talking briefly about each episode in turn; a series of short TV spots and pieces about the show's FX and secondary characters; and three very short behind-the-scenes glimpses, one of which has the self-explanatory title "Gillian eats a cricket". There's also a DVD-ROM utility with Web links and a game. --Mark Walker
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