Born Free is a bona fide family classic. The tale of how Kenya game warden George Adamson and his wife Joy (on whose book the film is based, with Virginia McKenna and Bill Travers in the principal roles) adopted and raised three orphaned lion cubs, taking a particular shine to the one they call Elsa before helping her return to the wild, is familiar by now; so is John Barry's Oscar-winning title song. And while the movie has its flaws (it contains references to "Bwana George" and such that would be considered frightfully un-PC nowadays), the animal footage, especially that of the lions in their various stages of development, is extraordinary and timelessly entertaining. The 1972 sequel doesn't quite measure up to its predecessor but, in an era when most "family entertainment" tends toward the insipid at best, Living Free is still a worthwhile venture. Susan Hampshire and Nigel Davenport take over the roles of Joy and George Adamson, the British couple who, while stationed in Kenya, adopted three orphaned lion cubs. Living Free finds the dying Elsa, their favourite of the original three and now a mother herself, returning to the Adamsons, who must figure out what to do with Elsa's three cubs, who develop an unfortunate appetite for domestic livestock. The film is on the slow side, but once again it's the animals who steal the show; the footage of the young lions interacting with other beasts, from wild giraffes and rhinos to a pet dog, is remarkable. --Sam Graham
The Bible - In The Beginning The greatest stories of the Old Testament are brought to the screen with astounding scope and power in this international film which depicts the first 22 chapters of Genesis. This is the spectacular story of man's creation his fall his survival and his indomitable faith in the future. Matching the epic scale of the production are performances by George C. Scott as Abraham Ava Gardner as Sarah and Peter O'Toole as the haunting presence of the Angel of God. The legendary John Huston directs and delivers a commanding performance as Noah. From the film's opening amidst cosmic chaos to its lingering message of hope and salvation The Bible stands as a monumental motion picture achievement. The Robe The first movie ever filmed in CinemaScope The Robe was nominated for five Academy Awards in 1953 including Best Picture for Richard Burton. Burton stars as Marcellus Gallio the Roman centurion charged with overseeing the crucifixion of Christ. But when he wins Christ's robe in a gambling game at the foot of the cross his life is forever changed. Its inspired story set to a spectacular score and featuring an all-star cast including Victor Mature and Jean Simmons The Robe remains one of the screen's greatest biblical epics. Demetrius And The Gladiators This enormously successful sequel to The Robe continues the story of Demetrius (Victor Mature) the Greek slave who after the death of his master is sentenced to train as a gladiator in the Roman arena. There his newfound Christian faith is put to the test when he has to contend not only with the swordsmen and wild beasts of the arena but also the evil and sensuous Messalina (Susan Hayward) and the mad emperor Caligula (Jay Robinson). Crammed with astonishing action and fight sequences this heroic epic is not to be missed!
NOTICE: Polish Release, cover may contain Polish text/markings. The disk has English audio.
Two strangers become dangerously close after witnessing a deadly accident.
After King David sees the beautiful Bathsheba bathing from the palace roof, he enters into an adulterous affair which has tragic consequences for his family and Israel
Maurice Colborne (Gangsters) stars as Tom Howard recently made redundant as an aircraft designer who decides to ply his trade in the world of boats instead; taking the reigns at a run-down local construction yard. A family of considerable wealth and prestige the Howards struggle to come to terms with Tom's decision and the changing circumstances of their lives.
Prostitute party girl perjurer bad-check passer petty criminal. She's all this and more but is she a murderer? Susan Hayward's Oscar-winning performance will leave you breathless with suspense! Arrested for fatally beating an elderly widow Barbara Graham (Hayward) at first goads the police refusing to answer their questions. But when an alleged accomplice turns state's evidence Graham insists that she's innocent. Condemned by the press and the public Graham is found guilty
Dallas: The Complete First and Second Seasons is an American equivalent to those British mini-series about historical chapters in that country's royal monarchy. Full of family in-fighting, political intrigue crossed with personal triumph or disappointment, and plenty of sensational infidelities and betrayals, Dallas is a captivating story of a wealthy oil family's power and travails. It is also uniquely fun and daringly absurd, albeit with a straight face; this hugely successful, primetime soap opera began in the late 1970s and ran 14 seasons in all, built on a handful of primary relationships that stretch credulity but never descend into self-parody. Not unexpectedly, Dallas begins with a Romeo and Juliet tale that instantly exposes an old feud between two families and strips the civilized veneer from several major characters. Bobby Ewing (Patrick Duffy), youngest of three sons of independent oilman Jock Ewing (Jim Davis), arrives at the Ewing clan's Southfork ranch just outside Dallas, Texas, with a new wife, Pam Barnes Ewing (Victoria Principal). Pam is the daughter of Digger Barnes (David Wayne), an old business rival of Jock's and one-time suitor of the Ewing matriarch, Eleanor (or "Miss Ellie", played by Barbara Bel Geddes). Pam's also the sister of a state senator, Cliff Barnes (Ken Kercheval), whose vendetta against the Ewings is played out in the legislature, imposing costly regulations on their business and holding committee investigations into questionable practices of company president J.R. Ewing (Larry Hagman). Pam's status as the newest Ewing causes an uproar in the family (besides being a Barnes, she also dated the Ewings' genial but lonely foreman, Ray Krebbs, played by Steve Kanaly) and prompts Dallas' charming villain, J.R., to make many Iago-like attempts, over the first two seasons, to drive her from Bobby's arms. Pam has a different set of problems with the other, jealous Ewing women, including J.R.'s possibly barren and alcoholic wife, Sue Ellen (Linda Gray), and teenage Lucy (Charlene Tilton), daughter of exiled Ewing son Gary (Ted Shackleford). With new and old resentments flying and everyone deeply suspicious of everyone else's motives (even the ailing Jock doesn't trust J.R.), there's plenty of drama to chew on. Still, storylines are often larger than the sum of these parts, with lots of kidnappings, marital affairs, plane crashes, and shootings ratcheting up suspense. Dallas is pure pleasure, a little guilty, perhaps, but not a sin. --Tom Keogh
Crammed with astonishing action and fight sequences this enormously successful sequel to The Robe continues the story of Demetrius (Victor Mature), the Greek slave who, after the death of his master, is sentenced to train as a gladiator in the Roman arena. There, his newfound Christian faith is put to the test when he has to contend not only with the swordsmen and wild beasts of the arena, but also the evil and sensuous Messalina (Susan Hayward) and the mad emperor Caligula (Jay Robins...
Sydney Tafler is perfectly cast as a small-time blackmarketeer whose criminal ambitions lead him into new and dangerous territory while starlet Susan Shaw is the girl he is desperate to hold on to – whatever it takes. The feature-length directorial debut of BAFTA nominee Ken Hughes this acclaimed post-war crime drama is featured here in a brand-new transfer from the original film elements in its as-exhibited theatrical aspect ratio. Benny has never made the big time. He's just another petty crook making a poor and precarious living on the black market – and certainly not making enough to satisfy the demands of his girlfriend Molly a lady of expensive tastes. So when presented with the opportunity to try his hand at blackmail Benny leaps at the chance... Bonus Features: Image Gallery
Maurice Colborne (Gangsters) stars as Tom Howard recently made redundant as an aircraft designer who decides to ply his trade in the world of boats instead; taking the reigns at a run-down local construction yard. A family of considerable wealth and prestige the Howards struggle to come to terms with Tom's decision and the changing circumstances of their lives. Featuring all the episodes from Series 2.
Based on the popular Marvel Comics graphic novels, the series centres on homicide detectives Christian Walker and Deena Pilgrim who investigate cases involving superheroes and supervillains, which are common in their world. They work in a special homicide division called Powers.
The exceptionally fine cast--Susan Sarandon, Tommy Lee Jones, J T Walsh, Mary-Louise Parker, Anthony Edwards, William H. Macy, Anthony LaPaglia, Ossie Davis and Brad Renfro--goes a long way toward making The Client one of the more solidly enjoyable screen adaptations of a John Grisham southern gothic legal thriller. Teen-hearthrob Renfro is a natural, playing a kid whose life is in jeopardy after he witnesses the death of a Mob lawyer. Susan Sarandon is the attorney who decides to look after the boy; nobody can match her when it comes to playing strong and protective maternal figures (Thelma and Louise, Lorenzo's Oil, Dead Man Walking). Sarandon won her fourth Oscar nomination as best actress for this role, before finally winning the following year for Dead Man Walking. Author Grisham was so impressed with former window dresser/fashion designer/screenwriter-turned-director Joel Schumacher's work on this movie that he later asked him to direct A Time to Kill. --Jim Emerson
Holland 1940: The German army invades the Netherlands and a nation suddenly finds itself under Nazi occupation. What follows is one of the most controversial periods in European wartime history as the Dutch are torn between collaboration and resistance. But for six young college students the choices they make will irreparably change the fate of their homeland as their lives become an epic adventure of courage betrayal and survival. Based on the best-selling memoir by Dutch war hero Erik Hazelhoff Roelfzema Soldier Of Orange became the international breakthrough film for director Paul Verhoeven and stars Rutger Hauer and Jeroen Krabbe and is still considered by critics worldwide to be one of the most powerful war films ever made.
Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak
This lavish big-budget blockbuster combined tales from Ernest Hemingway's life with Papa's already famous autobiographical novel of the same name. As Harry (Gregory Peck) lies wounded and delirious in an African campsite at the foot of the snow-covered slopes of Mount Kilimanjaro he recounts the story of his life in a series of flashbacks. Writing women and big-game hunting - these are the things that have defined and dominated his existence. In pursuit of all three he has travelled the globe from the salons of Bohemian Paris to the battlefields of Spain to the plains of Africa. Now in the shadow of the greatest mountain and his own approaching death from gangrene he tries to make sense of his failures. Few Hemingway novels play as well onscreen as they do on paper but under the direction of Henry King Peck and Susan Hayward who plays Harry's devoted beau turn in inspired performances but both are eclipsed by Ava Gardner as Cynthia the love he lost. The romantic sentimental qualities are embedded into the fine script are driven home by Bernard Hermann's brilliant score yet US theatre operators actually feared that audiences would stay away from the film because they couldn't pronounce Kilimanjaro but the film turned out to be one of the biggest hits of 1952.
Adventure awaits when a pack-mule express owner (Dana Andrews) escorts a young woman (Susan Hayward) home to a remote Oregon town.
When local wag Jackie O'Shea (Ian Bannen) discovers that one of his neighbours in the village of Tulaigh Mohr is a lottery winner he sees a chance to share in the wealth. Things get complicated when Jackie and his pal Michael O'Sullivan (David Kelly) discover that the winner, Ned Devine, died of shock at the very moment he learned of becoming a millionaire. Undaunted, Jackie and Michael dispose of the lucky stiff and hatch a plot to impersonate him and claim the prize. Soon the whole village is involved and the plot rapidly thickens. This film has been compared to The Full Monty, but it lacks the vein of desperation that added depth to that film. Instead, Waking Ned is closer in tone to classic British comedies like Whisky Galore!, with its cast of eccentrics gleefully conspiring to outwit the authorities. Those with a low tolerance for twinkly eyed Irish charm might be tempted to steer clear, although the movie is saved, for the most part, by its central performances. Bannen is superb as an old man who is clearly hungry for any excitement he can drum up and David Kelly is remarkable as his scrawny sidekick. Kelly has had a long career as a character actor in film and television, but here he has a chance to really let loose. His naked motorcycle ride is a marvellous set-piece and in all of his other scenes his twitchy, perfectly timed performance quite simply steals the movie. --Simon Leake, Amazon.com
Based on the Ernest Hemigway novel of the same name Peck plays the part of a wounded hunter who is accompanied by two young women in the African wilds. Each of them tries to analyse his or her past life.
The BBC's answer to the glossy soaps of 1980s America came with - a then - massive 1 000 000 budget and one of the catchiest theme tunes this side of Black Beauty (courtesy of Eastenders tune-smith Simon May)! Maurice Colborne (Gangsters) stars as Tom Howard recently made redundant as an aircraft designer who decides to ply his trade in the world of boats instead; taking the reigns at a run-down local construction yard. A family of considerable wealth and pre
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