Four waves of increasingly deadly attacks have left most of Earth decimated. Against a backdrop of fear and distrust, Cassie is on the run, desperately trying to save her younger brother, and preparing for the inevitable 5th wave.
When the Apocalypse actually happens and a billion people are raptured up to heaven Lindsey (Kendrick) and her boyfriend Ben (Daley) are left behind in suburban Seattle. The young couple try their best to lead a normal life surrounded by talking locusts blood rain showers and pot-smoking wraiths. But when the Anti-Christ (Robinson) makes his home base in their neighbourhood Lindsey finds herself the object of his affection. With the help of her family friends and a lawn-mowing zombie neighbour the young couple set off to stop the Anti-Christ from taking her as his bride... and just maybe saving the world in the process. Special Features: Audio Commentary with Craig Robinson Rob Corddry and Rob Heubel It's Good to Be the Beast Deleted Scenes Gag Reel
On the day of his first fight since leaving prison, former middleweight champion and weathered boxer, Irish Mike Flannigan, prepares for his highly anticipated return to the ring, a huge long-shot undercard at the legendary Madison Square Garden. But before he can face off against a new champion, he first needs to face the demons from his past, embarking on a redemptive emotional journey of second chances, self-sacrifice and forgiveness. From the producer of The Irishman and Joker, Day of the Fight marks a bold filmmaking debut from acclaimed actor turned writer-director Jack Huston (Boardwalk Empire, House of Gucci), starring Michael C. Pitt (Seven Psychopaths, The Dreamers), in a fearless lead performance, with knockout support from Nicolette Robinson (Woman of the Hour), John Magaro (Past Lives), Emmy and Golden Globe winner Steve Buscemi (Boardwalk Empire, Fargo), Golden Globe winner Ron Perlman (Hand of God, Hellboy), and Oscar winner Joe Pesci (The Irishman, Raging Bull).
A widowed mother's first date in years takes a terrifying turn when she's bombarded with anonymous threatening messages on her phone during their upscale dinner, leaving her questioning if her charming date is behind the harassment.
The epic tale of two stoners in the wrong place at the wrong time and now having to outrun the mob! From the guys that brought you "Superbad".
The Kings of Summer is a unique coming-of-age comedy about three teenage friends - Joe (Nick Robinson) Patrick (Gabriel Basso - Super 8) and the eccentric and unpredictable Biaggio (Moises Arias - Despicable me 2) - who in the ultimate act of independence decide to spend their summer building a house in the woods and living off the land. Free from their parents' rules their idyllic summer quickly becomes a test of friendship as each boy learns to appreciate the fact that family - whether it is the one you're born into or the one you create - is something you can't run away from.
Four guy friends, all of them bored with their adult lives, travel back to their respective 80s heydays thanks to a time-bending hot tub.
In this ground-breaking new series from Steven Bochco (NYPD Blue Hill Street Blues) Over There takes you to the front lines of battle and explores the effects of war on a U.S. Army unit sent to Iraq on their first tour of duty as well as the equally powerful effects felt at home by their families and loved ones. Over There is the first ever scripted television series set in a current ongoing war involving the United States. Featuring all 13 episodes fr
Edward G Robinson (The Whole Town's Talking, Tight Spot) and John Lund (A Foreign Affair) lead the cast of this tense and disturbing thriller from director John Farrow (A Bullet Is Waiting). When clairvoyant John (Robinson) tells wealthy heiress Jean (Gail Russell, The Uninvited) that she will die within a week, her lover, Elliot (John Lund), is sceptical, believing John to be a con artist who is only after money. But, as the foretold night arrives, Jean waits in fear for her life... Based on a novel by Cornell Woolrich (Rear Window), Night Has a Thousand Eyes is a pioneering fusion of film noir and psychological horror. Product Features High Definition remaster Original mono audio Audio commentary with authors and critics Glenn Kenny and Farran Smith Nehme (2023) Tony Rayns on 'Night Has a Thousand Eyes' (2023): the writer and film programmer discusses the career of director John Farrow and his distinctive noirs Screen Directors Playhouse: 'Night Has a Thousand Eyes' (1948): radio play adaptation introduced and directed by Farrow, and starring Edward G Robinson and William Demarest, reprising their film roles Suspense: 'The Man Who Thought He Was Edward G. Robinson' (1946): playful original radio play tapping into Robinson's distinctive persona, starring the man himself Image gallery: promotional and publicity materials New and improved English subtitles for the deaf and hard of hearing Limited edition exclusive booklet with a new essay by Jill Blake, archival interviews with actors John Lund and Gail Russell, an archival profile of screenwriter Jonathan Latimer, an overview of contemporary critical responses, and full film credits UK premiere on Blu-ray Limited edition of 3,000 copies for the UK All extras subject to change
The first three entries in the Clive Barker-originated series are presented in Hellraiser: The Collector's Edition, a box set which includes Barker's 1986 original, and the first two sequels, Tony Randel's Hellbound and Anthony Hickox's Hell on Earth. Watching the films run together, you can see the process whereby a twisted original vision from the British writer-director is gradually hammered out into the stuff of an American direct-to-video franchise. Even the first film suffers slightly as a story written to take place in London is rendered puzzling by the decision to dub minor players with American accents, and by the time of the third film there is only the odd flash of s&m imagery to distinguish the series from the Elm Street or any other franchise. Along the way, there are a few great and many good things: the nasty little family drama of the first film, played by Andrew Robinson and Clare Higgins, as a marriage is literally torn apart by the bloody, skinless brother-lover in the attic, and the still-striking look of the series' major demons, the Cenobites. Part II is a mess, but has a certain grand dementia and Part III at least gives the films' poster boy, Doug Bradley's Pinhead, centre screen as he bids to become the Freddy Krueger of the body-piercing set. On the DVD: Hellraiser: The Collector's Edition presents parts I and II in anamorphic widescreen, while III is cramped at 4:3 full-screen: the transfers are okay if not sumptuous, a little soft if aptly gloomy. Region 1 releases have director and crew commentaries and retrospective documentaries that are sadly not included here--though completists note: this edition boasts on-set cast and director interviews (five minutes apiece for I and II) which are not on the American set. I and II also have trailers (and II has a printable stills gallery and a pointless extra which consists of extracts from the film grouped together as "sub-plots"), but III is strictly no-frills. --Kim Newman
Black comedy and suspenseful action inside a German POW camp during World War II--a setting that was later borrowed for the American TV sitcom Hogan's Heroes. The great director Billy Wilder adapted the hit stage play, applying his own wicked sense of humour to the apparently bleak subject matter. William Holden plays an antisocial grouse amid a gang of wisecracking though indomitable American prisoners. Because of his bitter cynicism, Holden is suspected by the others of being an informer to the Germans, an accusation he must deal with in his own crafty way. Holden, who had delivered a brilliant performance for Wilder in Sunset Blvd., won the 1953 Best Actor Oscar for Stalag 17. Very much his equal, however, is Otto Preminger, an accomplished director himself, who plays the strict, sneering camp commandant. --Robert Horton
Remember Candyman, Bernard Rose's fine 1993 urban-legend horror movie based on Clive Barker's screenplay? How about Candyman: Farewell to the Flesh, the inevitable but actually halfway decent second bite at the cherry? Well, in the time-honoured tradition of sequels having less to do with the original with every step down the filmic food chain, the third instalment in the saga of the hook-handed bogeyman had no input from Barker, contains no creepy Phillip Glass score and has no real connection to either of its predecessors in terms of plot. That is unless you count the goon of the title (Tony Todd), returning from whatever ethereal plane he usually resides in to put the wind up his--wait for it--great, great grandaughter, slack-jawed LA art gallery owner Caroline McKeever (Donna D'Errico, hitherto best known for her work on Baywatch). Desperate to claim her soul so he can have a spot of companionship throughout the long days of eternity, Todd promptly sets about slicing and dicing various unfortunate Angelenos, making sure his last living relative gets the blame each and every time. Headed straight for the chair, can D'Errico save LA, and herself, from her heinous ancestor? And, more to the point, can she do so while walking and chewing gum at the same time? Dependent on huge amounts of viscera and its female lead's willingness to shed her clothes, this cheap knock-off still conjures the up the odd moment of unsettling gloom, while Todd is as reliably hammy as ever. All the same, you can't help hoping this is definitely, positively the last time round the block for the franchise: whatever you do, don't stand in front of any mirrors chanting "Candyman 4, Candyman 4, Candyman 4". The results will be horrific. --Danny Leigh
Although now regarded as the opening salvo of a classic series, the original Blackadder series was not considered a great success, either among critics or many viewers, so a major rethink took place when it was recommissioned. On the writing front, future-Four Weddings And A Funeral scribe Richard Curtis was joined by Ben Elton, while the expensive War of the Roses-era sets were replaced by cosier Elizabethan ones. The most important change, however, was with Rowan Atkinson's eponymous character who, in the first series, had been a fairly weak-willed idiot but now emerged as the familiar Machiavellian fiend which would cement Atkinson's place in the pantheon of great British sitcom actors. Moreover, even if so many of the script's lines have been subsequently ripped off by lesser hands that it can't help but occasionally sound dated, the central performances of Atkinson, Tony Robinson (Baldrick), Tim McInnery (Lord Percy), Stephen Fry (Lord Melchett) and, of course, Miranda Richardson as the childishly psychotic Queen Elizabeth ("I love it when you get cross. Sometimes I think about having you executed just to see the expression on your face") remain note perfect. Yet the real pleasure for viewers may be in rediscovering the raft of excellent guest star performances--not least Tom "Doctor Who" Baker's berserk turn as a literally legless old sea dog given to guzzling his own urine long before the drinking water has run out. --Clark Collis
Written by Sydney Boehm (The Big Heat) and directed by Hugo Fregonese (Man in the Attic), Black Tuesday is an explosive crime drama starring one of Hollywood's most beloved tough guys: Edward G. Robinson, the star of Little Caesar, The Last Gangster, I Am the Law and Key Largo. Vincent Canelli (Robinson) is a violent mobster serving time on Death Row but he has no intention of going to the electric chair. Following a plan put together by his moll, Hatti (Jean Parker, Dead Man's Eyes), Canelli orchestrates a jailbreak on the night before his execution and takes several hostages in the process. Canelli is joined by fellow Death Row inmate Peter Manning (Peter Graves, Stalag 17), and hopes to discover the location of a stash of stolen loot Manning hid away before his conviction. But is Manning willing to pay the price for freedom and look the other way as the psychopathic Canelli revels in murder and mayhem? While the Hollywood gangster movie was at the height of its success in the early 1930s, it resurged in the 1940s and into the next decade as crime pictures found a new popularity in the post-war period. Standing tall alongside Key Largo, White Heat and Kiss Tomorrow Goodbye, Black Tuesday is one of the finest gangster films to emerge from this later cycle as old-fashioned wiseguys met with film noir sensibilities. The Masters of Cinema series is proud to present this key crime picture of the 1950s on Blu-ray for the first time in the UK from an astonishing new restoration.LIMITED EDITION SPECIAL FEATURES: Limited edition of 2000 copies | Limited edition O-Card slipcase featuring new artwork by Scott Saslow | 1080p HD presentation on Blu-ray from a 2K scan of the 35mm fine grains | Optional English subtitles | A brand new audio commentary with film noir expert Sergio Angelini, host of the Tipping My Fedora podcast | From Argentina to Hollywood a brand new interview with film historian Sheldon Hall on director Hugo Fregonese | No Escape A brand new video essay by Imogen Sara Smith, author of In Lonely Places: Film Noir Beyond the City | Brand new video interview with critic and codirector of Il Cinema Ritrovato Ehsan Khoshbakht |Theatrical trailer | PLUS: A collector's booklet featuring new writing on Black Tuesday by critic Barry Forshaw and film writer Craig Ian Mann
Christian Wolff (Affleck) is a math savant with more affinity for numbers than people. Behind the cover of a small-town CPA office, he works as a freelance accountant for some of the world's most dangerous criminal organizations. With the Treasury Department's Crime Enforcement Division, run by Ray King (J.K. Simmons), starting to close in, Christian takes on a legitimate client: a state-of-the-art robotics company where an accounting clerk (Anna Kendrick) has discovered a discrepancy involving millions of dollars. But as Christian uncooks the books and gets closer to the truth, it is the body count that starts to rise.Click Images to Enlarge
Every one of your favourite moments, including Michael's (Steve Carrell) infamous encounter with a breakfast grill, Dwight's (Rainn Wilson) power plays, Jim's (John Krasinski) pranks, Andy's (Ed Helms) struggles with anger management, and of course Pam (Jenna Fischer) and Jim's evolving romance. Developed for American television by Primetime Emmy® Award Winner Greg Daniels, The Office: The Complete Series includes every single episode plus bonus materials that are guaranteed to leave you satisfied and smiling, that's what she said
All episodes from the 15th series of the Channel Four archeology programme presented by Tony Robinson which explores the history of Britain through digs and the artifacts uncovered. The episodes are: 'Gold in the Moat', 'Street of the Dead', 'Bodies in the Dunes', 'The Naughty Nuns of Northampton', 'Mysteries of the Mosaic', 'Blitzkrieg On Shooter's Hill', 'Keeping Up With the Georgians', 'Saxons On the Edge', 'Fort of the Earls', 'From Constantinople to Cornwall', 'Five Thousand Tons of Stone', 'The Romans Recycle' and 'Hunting King Harold'.
Anna Biller directs this comedy horror starring Samantha Robinson, Jeffrey Vincent Parise and Laura Waddell which pays homage to the Technicolor thrillers of the 1960s and 70s. A young and beautiful witch named Elaine (Robinson) uses her magic to devise spells and craft concoctions which will grant her what she desires: a man who loves her. Inconveniently however, her creations work too well and every man she seduces ends up dead. She finally finds the perfect man for her, but her willful desire to feel loved may send her over the edge and into a heady brew of passion, madness and death.
Like Sylvester Stallone's Rocky and Rambo the hero of Cobra is another original: Lt. Marion Cobretti a one-man assault force whose laser-mount submachine gun and pearl-handled Colt 45 spit pure crime-stopping venom. Rambo: First Blood Part II director George P Cosmatos rejoins Stallone for this thriller pitting Cobretti against a merciless serial killer. The trail leads to not one murderer but to a ""New Order"" - and killing the inadvertent witness (Brigette Nielsen) to their late
Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown
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