If you don't think Austin Powers: International Man of Mystery (1997) is one of the funniest movies of the 1990s, maybe you should be packed into a cryogenic time chamber and sent back to the decade whence you came. Perhaps it was the 1960s - the shagadelic decade when London hipster Austin Powers scored with gorgeous chicks as a fashion photographer by day, crime-fighting international man of mystery by night. Yeah, baby, yeah! But when Powers's arch nemesis, Dr. Evil, puts himself into a deepfreeze and travels via time machine to the late 1990s, Powers must follow him and foil Evil's nefarious scheme of global domination. Mike Myers plays dual roles as Powers and Dr. Evil, with Elizabeth Hurley as his present-day sidekick and karate-kicking paramour. A hilarious spoof of '60s spy movies, this colourful comedy actually gets funnier with successive viewings, making it a perfect home video for gloomy days and randy nights. Oh, behave! "I put the grrr in swinger, baby!" a deliciously randy Powers coos near the beginning of The Spy Who Shagged Me (1999), and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel finds our man Austin heading back to the '60s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world - and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad, and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek. Myers teams Dr. Evil with a diminutive clone, Mini-Me (Verne J. Troyer), then pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Despite symptoms of sequelitis, Austin Powers in Goldmember (2002) is must-see lunacy for devoted fans of the shagadelic franchise. Unfortunately, the law of diminishing returns is in full effect: for every big-name cameo and raunchy double-entendre, there's an equal share of redundant shtick, juvenile scatology, and pop-cultural spoofery. All is forgiven when the hilarity level is consistently high, and Mike Myers -returning here as randy Brit spy Austin, his nemesis Dr. Evil, the bloated Scottish henchman Fat Bastard, and new Dutch disco-villain Goldmember - thrives by favouring comedic chaos over coherent plotting. Once they've tossed Austin into the disco fever of 1975 (where he's sent to rescue his father, gamely played by Michael Caine), Myers and director Jay Roach seem vaguely adrift with old and new characters, including Verne Troyer's Mini-Me and pop star Beyoncé Knowles as Pam Grier-ish blaxpo-babe Foxxy Cleopatra. A bit tired, perhaps, but Powers hasn't lost his mojo.
Live and Let Die - Roger Moore finds himself immersed in the world of heroin, voodoo and black magic in his debut as Bond. The Man with The Golden Gun - Bond is assigned to retrieve a top secret solar power converter, but finds himself the target of the world's greatest professional assassin. The Spy Who Loved Me - Britain and Russia both send their best agents to negotiate for a tracking system that has lost them each a nuclear submarine. Moonraker - When a Moonraker space shuttle disappears the chase leads Bond into outer space. For Your Eyes Only - In the race to beat the Russians to a missing communications device Bond finds himself involved with the Greek underworld. Octopussy - Stolen art treasures lead to a plan that will see Europe fall to a Russian invasion unless Bond can stop it in time A View To A Kill - In pursuit of new computer super chips, Bond uncovers a plan which could destroy Silicon Valley and the West's computer industries.
In Roger Moore's first outing as 007 he investigates the murders of three fellow agents he soon finds himself a target evading vicious assassins as he closes in on the powerful Kananga (Yaphet Kotto). Known on the streets as Mr Big Kananga is co-ordinating a globally threatening scheme using tons of self-produced heroin. As Bond tries to unravel the mastermind's plan he meets Solitaire (Jane Seymour) the beautiful Tarot card reader whose magical gifts are crucial to the crime lord. Bond of course works his own magic on her and the stage is set for a series of pulse-pounding action sequences involving voodoo hungry crocodiles and turbo-charged speedboats.
A comedy about an overbearing mother who becomes her son's partner in crime-fighting. Tutti Bomowski's visit to her policeman son Joe is extended when she witnesses a drive-by shooting and is required by the cops to remain in the area. Soon she's helping Joe apprehend criminals - and still finding plenty of time to interfere in his romantic affairs.
What is the first thing you think of when the guy behind you gets his legs blown off? What time is it when it hits bomb o'clock ? How do you fall for a woman who turns out to be an assassin?? A Good Day To Die is about a man's bravery to photograph the world at war and also make sure those images are published for the world to see. It is the extraordinary life story of British conflict photographer, Jason P. Howe, who survived 12 years on the frontline of four different wars, capturing images of humanity in all its suffering.
Dude Where's My Car? (Dir. Danny Leiner 2000): Jesse (Ashton Kutcher) and Chester (Seann William Scott) got really wasted last night. The fridge is packed with pudding their girlfriends - ""The Twins"" - are ticked off and somehow Jesse's car has disappeared. So the hapless stoners set out to find the car which happens to have their girlfriends' anniversary presents in it. But they soon discover that losing the car isn't half the story. High school hottie Christie (Kristy Sw
There's Something About Mary Still suffering from a High School crush on Mary (Cameron Diaz) the nerdy angst-driven Ted (Ben Stiller) tracks her down thirteen years later with the help of a sleazy private investigator (Matt Dillon) who also falls for her. Unfortunately both men discover that virtually every man who sets his eyes on the dazzling Mary finds himself head over heels in love and determined to win her hand. Rat Race Donald Sinclair owns the biggest snazzi
Caught midway between 1970s soft-porn clunker The Story of O and Bunuel's sado-masochistic fantasy Belle de Jour, the 1968 erotic curio Girl on a Motorcycle is one of Marianne Faithfull's chief claims to notoriety. She stars as Rebecca, a leather-clad, former bookstore clerk in search of sexual fulfilment who flees her dependable schoolteacher husband for a dangerous liaison with Daniel (Alain Delon), a dashing Professor addicted to speed. The story is told entirely in flashbacks as Rebecca rockets along the road, having donned her leathers and walked out on her sleeping husband at the crack of dawn. It all must have seemed fairly daring and provocative in 1968, providing viewers with ample opportunities to view a naked Faithfull at the height of her allure. But today the existential musings of the lead character seem achingly pretentious, the erotic symbolism merely gawky and unintentionally amusing: the sight of Alain Delon with a phallic pipe dangling from his mouth is like something out of a Rene Magritte painting. The sex scenes between Delon and Faithfull are all swamped in a polarised visual effect that, while garish and psychedelic, is dated and distinctly unerotic. Director Jack Cardiff is better known as a cinematographer on classics such as The African Queen and Black Narcissus. Among Cardiff's other directorial credits is a worthy adaptation of DH Lawrence's Sons & Lovers, but Girl on a Motorcycle is a saucy road movie with no final destination. On the DVD: This DVD version is misleadingly presented as being the fully restored and uncut version of the film. Yet it was the US version not the European one that was heavily cut (and titillatingly re-titled "Naked Under Leather"). The restoration certainly does not refer to the print quality: although the colours are vivid and bright, the print used to master the DVD (in 16:9 anamorphic format) is extremely grainy and, at times, speckled with dirt and scratches. Included as one of the special features, a theatrical trailer loaded with innuendo shows just how much the film was marketed to a prurient audience. Director Jack Cardiff provides an audio commentary but has few revelatory things to say about his film beyond technical considerations, and even makes several clunking errors (recalling his casting decisions concerning a scene that takes place in a provincial German café, he raves about how he strove to find authentic French locals!). He does reveal that the film's use of a voice-over was inspired by the internal monologue that forms the basis of James Joyce's Ulysses. Given Cardiff's age and experience one feels that he must have more interesting anecdotes and insights, making this commentary feel like a wasted opportunity. --Chris Campion
Tracks Include:01 In The Flesh02 The Happiest Days Of Our Lives03 Another Brick In The Wall Part 204 Mother05 Get Your Filthy Hands Off Me Desert06 Southampton Dock07 Pigs On The Wing Part 108 Dogs09 Welcome To The Machine10 Wish You Were Here11 Shine On Your Crazy Diamond (Parts 1 - 8)12 Set The Controls For The Heart Of The Sun13 Breathe (In The Air)14 Time15 Money 16 The Pros And Cons Of Hitch Hicking Part 11 (AKA 5:06 A.M. - Every Stranger's Eyes)17 Perfect Sense (Parts 1 & 11)18 The Bravery Of Being Out Of Range19 It's A Miracle20 Amused To Death21 Brain Damage 22 Eclipse23 Comfortably Numb24 Each Small Candle
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