When Terms of Endearment was released in 1983, director and writer James L Brooks was lauded for his depiction of a complex mother/daughter relationship. For his leading ladies he chose actresses with two of the strongest personalities in Hollywood, but armed with an exceptionally witty script and endless patience he eventually drew magnificent performances from Shirley Maclaine as Aurora and Debra Winger as her daugher Emma, assisted considerably by Jack Nicholson's considerate professionalism. As the philandering retired astronaut who beds Maclaine and then provides her with surprising support in the film's dark later moments, Nicholson shines with comic brilliance which earned him an Oscar. It was no secret that Maclaine and Winger could barely contain a mutual antipathy on set. Yet they strike sparks off each other on screen. When comedy turns to tragedy with the development of Emma's cancer, the laughs continue even while the tear ducts are being given a good work out. In the glory days of Hollywood, this would have been acknowledged a great "women's picture" and its weepy credentials are impeccable. It stands out as a warm, accessible work that admirably rejects sugary sentiment in favour of the realistic rough edges that characterise most human relationships. On the DVD: Presented in 1.78:1 anamorphic widescreen with a Dolby Digital 5.1 soundtrack, this DVD is ideal for home cinema viewing. The picture and sound quality are fine, benefiting Michael Gore's gentle, memorable music and bringing the best out of Andrzej Bartkowiak's luminous photography. In addition to the original theatrical trailer, the major extra is the director's commentary in which James L Brooks reminisces with coproducer Penney Finkelman and production designer Polly Platt. They look back at their impressive work with a touching degree of wonder and apprentice directors should take note when Brooks recalls his steep learning curve in managing his leading ladies. --Piers Ford
There's a sense of awe to the special effects work of animation specialists Gerry and Sylvia Anderson (Thunderbirds Are Go)--the slow, lovingly detailed introduction of a massive spaceship creeping out of dock and struggling against its bulk while trapped on the ground, and the almost balletic spectacle of the ship elegantly floating against an impressive star field or dramatically flying against the rugged landscape. These moments are the highlights of this sober science fiction thriller about the discovery of a planet on the far side of the sun in Earth's orbit. A mission is hastily put together, with British astrophysicist Ian Hendry teamed with hotshot American astronaut Roy Thinnes for the three-week trip, but when they suddenly crash-land the strange creatures that surround them are revealed to be human. Against all rational explanations they're back on Earth, but Thinnes suddenly discovers that everything is a mirror image of his existence: Through the Looking Glass by way of The Twilight Zone. Though it begins as a paranoid spy thriller set in the near future (the opening details an ingenious espionage caper featuring a very special eyepiece), it quickly turns into a serious and oddly unsettling space-race drama with a heady twist. Robert Parrish's direction is unusually aloof, but the film is always intriguing and well acted with gorgeous special effects that may rank second only to Stanley Kubrick's 2001 as the most elegant vision of outer space flight on film. --Sean Axmaker
Hurricane Express: John Wayne stars as pilot Larry Baker who makes an unscheduled landing in a vain attempt to prevent a railway collision that kills his father and is fired for disobeying orders. Larry must find out the truth behind the wreck of the Hurricane Express! Rage At Dawn: A Special Agent is sent way out west to round up the norotious Reno gang. He stages a fake train robbery in order to attract the evil Reno brothers and their gang in this gritty and force
It's been said that America has given the world two thoroughly original art forms: jazz and the movie musical. The 1930s saw the newly born genre of the Hollywood musical bloom with artistry and variety never before imagined. For many filmgoers the Hollywood musical gave them escape and hope during the troubled years of the Great Depression.
Roy Rogers plays a daring young Wild Bill Hickok in this wild west drama who is stationed as a relay station agent and must protect a shipment of gold. He decides to give the valuable goods to his friend Gabby (George Hayes) to help take the shipment to California. However the plan goes south when a developing love triangle among Hickok Calamity Jane (Sally Payne) and Louise Mason (Jacqueline Wells) causes the plan to be revealed man with villianous intent. Sent by a foreign gover
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