A small team of Vatican investigators arrive at a remote church in hopes of demystifying the buildings unusual goings on, but what they discover is more disturbing than they could ever imagine. Special FeaturesNew audio commentary by Actors Robin Hill and Gordon Kennedy, Producer Jennifer Handorf and Special Effects Designer Dan MartinDressed the Part: a new interview with Robin Hill and Gordon KennedyLosing Faith: a new interview with Jennifer HandorfMonster Goo: a new interview with Dan MartinArchive featurette: Behind the Scenes
WE HAVE SUCH SIGHTS TO SHOW YOU! In 1987, master of horror Clive Barker unleashed Hellraiser upon unsuspecting audiences launching what has proven to be one of the genre s most enduring franchises and creating an instant horror icon in the figure of Pinhead in the process. In Barker s original Hellraiser, Kirsty Cotton (Ashley Laurence) comes head-to-head with the Cenobites demonic beings from another realm who are summoned by way of a mysterious puzzle box. Picking up immediately after the events of the original Hellraiser, Hellbound: Hellraiser II finds Kirsty detained at a psychiatric institute and under the care of Dr. Channard, a man with an unhealthy interest in the occult. Meanwhile, Hellraiser III: Hell on Earth sees Pinhead and his band of Cenobites let loose in our own world, with terrifying consequences.
From director Chris Columbus comes this original funny and heart-warming film. When Richard Martin (Sam Neill) introduced a robot named Andrew (Robin Williams) to the family nobody expects anything more than an ordinary household appliance. But this is no ordinary robot! Andrew is a unique machine with real emotions a sense of humour and a burning curiosity to discover what it means to be human. Over the course of his service with the Martins spanning two hundred years and several
A small team of Vatican investigators arrive at a remote church in hopes of demystifying the buildings unusual goings on, but what they discover is more disturbing than they could ever imagine. Special FeaturesNew audio commentary by Actors Robin Hill and Gordon Kennedy, Producer Jennifer Handorf and Special Effects Designer Dan MartinDressed the Part: a new interview with Robin Hill and Gordon KennedyLosing Faith: a new interview with Jennifer HandorfMonster Goo: a new interview with Dan MartinArchive featurette: Behind the ScenesLimited Edition ContentsRigid slipcase with new artwork by Christopher Shy70-page book with new essays by Tim Coleman, Martyn Conterio, Shellie McMurdo and Johnny Walker6 collectors' art cards
Bicentennial Man was stung at the 1999 box office, due no doubt in part to poor timing during a backlash against Robin Williams and his treacly performances in two other, then-recent, releases, Jakob the Liar and Patch Adams. But this near-approximation of a science-fiction epic, based on works by Isaac Asimov and directed, with uncharacteristic seriousness of purpose, by Chris Columbus (Mrs Doubtfire), is much better than one would have known from the knee-jerk negativity and box-office indifference. Williams plays Andrew, a robot programmed for domestic chores and sold to an upper-middle-class family, the Martins, in the year 2005. The family patriarch (Sam Neill) recognizes and encourages Andrew's uncommon characteristics, particularly his artistic streak, sensitivity to beauty, humour and independence of spirit. In so doing, he sets Williams's tin man on a two-century journey to become more human than most human beings. As adapted by screenwriter Nicholas Kazan, the movie's scale is novelistic, though Columbus isn't the man to embrace with Spielbergian confidence its sweeping possibilities. Instead, the Home Alone director shakes off his familiar tendencies to pander and matures, finally, as a captivating storyteller. But what really makes this film matter is its undercurrent of deep yearning, the passion of Andrew as a convert to the human race and his willingness to sacrifice all to give and take love. Williams rises to an atypical challenge here as a futuristic Everyman, relying, perhaps for the first time, on his considerable iconic value to make the point that becoming human means becoming more like Robin Williams. Nothing wrong with that. -- Tom Keogh, Amazon.com
They came they saw they changed their minds! A group of disillusioned townsfolk living in the West renounce their settlemen and decide to return to their homes in the East. Hiring a grizzled and eccentric wagonmaster (Candy) they set off on the trail...
Jim and Hilda Bloggs are the typical retired couple in rural England. They drink endless cups of tea and have an unwavering faith in the wisdom of their government. They understand that a Third World War is imminent between the US and the Soviets. However they fail to grasp the concept that war will be fought by nuclear means and what consequences this will have. With the help of government issued pamphlets Jim builds a shelter to protect the couple and although they survive a n
The makers of Supernova are apparently counting on the fact that generational turnover renders old formulas fresh again for new audiences. This is the only explanation for a sci-fi thriller that could charitably be called a "homage" to Ridley Scott's trend setting Alien. A medical rescue ship responds to a distress call from a mining colony and finds only one survivor: a strange young man (Peter Facinelli), who comes aboard carrying an even stranger alien artefact. But the plot of this film, which was directed and then disowned by Walter Hill, grows confused as it tries to explain the sinister force that will lead to a star transforming to supernova status, causing a universe-shattering explosion. Some nice sexual tension between James Spader (as the recovering drug-addict co-pilot) and Angela Bassett (as the ship's doctor). Notable mostly, however, for the eerie resemblance, both physical and vocal, between Facinelli and Tom Cruise. --Marshall Fine, Amazon.com
The Social NetworkDavid Fincher's The Social Network is the stunning tale of a new breed of cultural insurgent: a punk genius who sparked a revolution and changed the face of human interaction for a generation, and perhaps forever. With a complex, incisive screenplay by Aaron Sorkin and a brilliant cast including Jesse Eisenberg, Andrew Garfield and Justin Timberlake. The Social Network bears witness to the birth of an idea that rewove the fabric of society even as it unravelled the friendship of its creators. MoneyballOakland A's general manager Billy Beane (Brad Pitt) challenges the system and defies conventional wisdom when he is forced to rebuild his small-market team, on a limited budget. Despite opposition from the old guard, the media, fans and their own field manager (Philip Seymour Hoffman), Beane - with the help of a young, number-crunching, Yale-educated economist (Jonah Hill) - develops a roster of misfits... and along the way, forever changes the way the game is played.
There's a reason you haven't heard of Cruel Intentions 2, a straight-to-video "sequel" to the seamy teen romp that had Ryan Phillippe baring his polished behind: it's twice as bad as the first one and is only worth a look to see just how embarrassingly trivial it can get. Writer-director Roger Kumble's original was no classic, but at least the game, nubile cast knew how to smack its lips--his follow-up (which, in tamer form, was to be the pilot for a proposed series called Manchester Prep) can't even pout properly. Phillippe's Sebastian character (here played by a bland, doughy Robin Dunne) is carted back out to be reintroduced to scheming stepsister Kathryn, enacted by a woefully unsexy Amy Adams (Sarah Michelle Gellar played Sebastian's ripe cousin in the first film). The two don't hit it off, and Sebastian--far more sentimental than his big-screen counterpart--immediately decides he's all for love, in the form of pristine deb Danielle (Sarah Thompson). It all amounts to a ponderously cartoonish nothing, and includes a twist ending that renders everything proceeding it completely incomprehensible. Kumble has the film spouting homilies on love and self-esteem, then randomly throws in bare breasts; it's like a horny Saved by the Bell, without the kick or pace of good camp. --Steve Wiecking, Amazon.com
There's a reason you haven't heard of Cruel Intentions 2, a straight-to-video "sequel" to the seamy teen romp that had Ryan Phillippe baring his polished behind: it's twice as bad as the first one and is only worth a look to see just how embarrassingly trivial it can get. Writer-director Roger Kumble's original was no classic, but at least the game, nubile cast knew how to smack its lips--his follow-up (which, in tamer form, was to be the pilot for a proposed series called Manchester Prep) can't even pout properly. Phillippe's Sebastian character (here played by a bland, doughy Robin Dunne) is carted back out to be reintroduced to scheming stepsister Kathryn, enacted by a woefully unsexy Amy Adams (Sarah Michelle Gellar played Sebastian's ripe cousin in the first film). The two don't hit it off, and Sebastian--far more sentimental than his big-screen counterpart--immediately decides he's all for love, in the form of pristine deb Danielle (Sarah Thompson). It all amounts to a ponderously cartoonish nothing, and includes a twist ending that renders everything proceeding it completely incomprehensible. Kumble has the film spouting homilies on love and self-esteem, then randomly throws in bare breasts; it's like a horny Saved by the Bell, without the kick or pace of good camp. --Steve Wiecking, Amazon.com
Cruel Intentions: Kathryn Merteuil and Sebastian Valmont are two gorgeous filthy rich manipulative stepsiblings from Manhattan's upper east side. Bored of the girls he has so easily seduced in the past Sebastian has set his sights on the ultimate challenge - the beautiful virginal headmasters daughter Annette Hargrove. Kathryn sees the perfect opportunity for a wager. If Sebastian fails to lure Annette into his bed he will have to surrender his priceless vintage Jaguar;
Hitch: In Andy Tennant's delightful romantic comedy Hitch Will Smith stars as Alex Hitchens an urban ""date doctor"" who helps the common man woo the woman of his dreams. Hitch will use any means necessary--dance lessons back waxing--to instill romantic confidence in his clientele. Why? He was once a lonely wallflower himself who learned about love and heartbreak the hard way. His latest project Albert Brennaman (Kevin James) may be his most difficult. Brennaman a junior accountant prone to clumsiness has fallen head-over-heels for one of his clients Allegra Cole (Amber Valleta) a well-known celebrity. To complicate things further Hitch's dating dogma is shaken when he meets and falls for a beautiful gossip columnist Sara Melas (Eva Mendes) whose sharp wit easily pierces his cool faade. Conflict arises when Melas uncovers Hitch's true profession and blames him for her best friend being dumped. (Dir. Andy Tennant 2005) Jerry Maguire: Jerry Maguire (Tom Cruise) is a man who knows the score. As a top agent at Sports Management International Jerry is unquestionably master of his universe - until that is he gets a sudden attack of morals and is unceremoniously fired! Hanging on by a thread Jerry is forced to start from scratch supported only be three very unlikely allies- single mother Dorothy Boyd (Renee Zellweger ) her cheeky young son Ray and Rod Tidwell (Cuba Gooding Jr.) a second rank player for the Arizona Cardinals - and Jerry's sole remaining client. (Dir. Cameron Crowe 1996) 50 First Dates: Henry Roth (Sandler) the local marina veterinarian only dates tourists because he's afraid of commitment - that is until he meets Lucy (Barrymore). Unfortunately Lucy lost her short-term memory months ago in a car accident and for her each day is October the 13th. She follows the same routine every day - breakfast at the same restaurant pineapple-picking with her dad and eventually bed time where sleep wipes away her short-term memory. Henry however refuses to be forgotten and as his puppy love matures he embarks on a quest to restore her memory or at least be a part of her everyday routine. But vying for Lucy's attention isn't always easy. Henry explores various approaches before making a video for Lucy to watch every morning reminding her of who she is and what she's doing... (Dir. Peter Segal 2004)
The Skulls: For Luke McNamara (Joshua Jackson) an invitation to join the prestigious secret college organization The Skulls is a dream come true. Acceptance into the Skulls would ensure Luke a place at the table and guarantee him both the financial means and the connections to make it into law school. But after the suspicious suicide of his friend Will Luke is forced to confront the possibility that he was murdered for attempting to reveal the secrets of The Skulls and he embarks on a deadly game of cat and mouse. In trying to uncover the truth behind Will's death Luke comes to realize just how powerful The Skulls organization really is. And he learns that the truth like success comes at a very high price. (Dir. Rob Cohen 2000) The Skulls 2: After a college student is tapped to join the elite secret Skulls fraternity he witnesses a girl's death and his life starts to fall apart... (Dir. Joe Chappelle 2002) The Skulls 3: Clare Kramer stars as Taylor Brooks a sexy young undergraduate who is determined to become the first female member of the secret Skulls society. After she coerces the Council into including her in the initiation rites of the elite brotherhood Taylor soon finds herself engulfed in a sinister world of deception intimidation and murder... (Dir. J. Miles Dale 2003)
Two shoplifters find themselves thrown together for an adventure. Seth a thief and Marcy a girl suffering from Tourette Syndrome set off for Toronto where Marcy hopes to find a special doll.
Night has fallen on the Smithsonian Institution in Washington D.C. The guides have gone home, the lights are out, the school kids are tucked in their beds... yet something incredible is stirring as former night guard Larry Daley (Ben Stiller) finds himself lured into his biggest, most imagination-boggling adventure yet in which history truly comes alive. In this second installment of the Night at the Museum saga, Larry faces a battle so epic it could only unfold in the corridors of the world'...
This three-part DVD is a veritable feast of film-making for vintage rally fans. First up is the Golden Age of Rallying a 1976 production covering a decade of die-hard of rallying from 1958 to 1968. It includes footage of all the well-known events personalities and manufacturers of the era - from Sunbeam Rapiers to Austin Healeys Minis and Escorts. The introduction and commentary is by rallying legend Steve Turner. Reviewed next is the 1973 Scottish Rally a sure-fire success from the start with big name drivers such as Clark Mikkola and Cowan competing. Nearly 2000 miles of hard driving with numerous special stages pushed the rally drivers to the edge in this short riveting review. Also included is highlights of the 1969 East African Safari Rally during which the tough course claimed most cars before the finish line! Wildlife dust boulders and flooding through Kenya and Uganda did not stop Robin Hillyar and Jock Aird in a Ford Taunus. They narrowly claimed victory in an entertaining race.
A little over-extended as a two-hour movie, The Eligible Bachelor was one of several such feature-length productions made (late 1992) in Granada Television's long-running Sherlock Holmes series. Based on the Sir Arthur Conan Doyle story The Adventure of the Noble Bachelor, this TV movie finds Holmes (the ailing Jeremy Brett, playing an increasingly darker and more neurotic detective) and Dr. Watson (Edward Hardwicke) called upon to help in a case involving the disappearance of Henrietta Doran (Paris Jefferson), fiancé of the noble Lord Robert St Simon (Simon Williams), who was last seen with a former lover of St Simon's, Flora Millar (Joanna McCallum). The unimaginative Scotland Yard instantly arrests Millar on suspicion of foul play, but it is Holmes who has to find the missing woman. Fans of the entire series might best enjoy this slightly clunky programme, though there is much of interest about Brett's performance to recommend it. --Tom Keogh
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