In a small town a woman is found brutally murdered by an axe. There are no suspects or witnesses to the killing. Based on the novel 'Evidence Of Love' by John Bloom who based the story on the actual events in a small American town.
Deep Space Nine's fifth series was a turning point from which there was no going back. Character and information overload took over, and the complicated twists and turns in the build up to war either hooked viewers securely, or sent them away with a headache. The Klingon faction instigated by Worf's arrival was occasionally played for laughs, but mostly their hard-headed personalities made all efforts at diplomacy moot. In the opening episode a chilling possibility is proposed as to why might be: have the Changelings infiltrated already and replaced key personnel? Some fans saw this as a flawed X-Files-style development. Nevertheless it sowed a seed of insidious suspicion from here on, affecting all the principal casts' relationship with one another, even allowing Odo and Quark an opportunity to confess a degree of friendship. Expanding on the new theme of duplication, the crew also made numerous trips to their Mirror Universe counterparts. As well as new uniforms and the milestone 100th episode, Nana Visitor and Alexander Siddig comically got to disguise the arrival of their child during filming. More laughs came from the fan favourite "Trials and Tribble-ations" with CG allowing Sisko and crew to interact with Kirk and a cameo from Leonard Nimoy. Avery Brooks began taking a backseat as of this year, partly a result of the now-overcrowded cast. Although Sisko's destiny would be foreshadowed by his first vision and the introduction of the Pah-wraiths, the Captain was in an increasingly sulky mood. Brooks only directed one episode, allowing room for regulars LeVar Burton and Rene Auberjonois to do more behind the camera. Joining them were Alexander Siddig, Michael Dorn and even Andrew Robinson. Available space started to seem hardly deep enough. --Paul Tonks
Three beautiful young women who meet by chance decide to follow their dreams of stardom to Malibu. As they become more accustomed to the Los Angeles lifestyle they each explore fantasies they never knew existed.
There are some filmmaking teams that invariably bring out the best in each other, and that's definitely the case with director Carroll Ballard and cinematographer Caleb Deschanel. They previously collaborated on The Black Stallion and Never Cry Wolf, and Fly Away Home is their third family film that deserves to be called a classic. Inspired by Bill Lishman's autobiography, the movie tells the story of a 13-year-old girl (Anna Paquin) who goes to live with her estranged, eccentric father (Jeff Daniels) following the death of her mother. At first she's withdrawn and reclusive, but finds renewed happiness when she adopts an orphaned flock of baby geese and, later, teaches them to migrate using an ultralight. Sensitively directed and stunningly photographed, the movie has flying sequences that are nothing short of astonishing, and Daniels and Paquin (Oscar winner for The Piano) make a delightful father-daughter duo. --Jeff Shannon
As the Japanese Mafia the Yakuza threatens to rip apart Los Angeles one cop crosses the Pacific to track down its most lethal killer.
William (Martin Clunes) likes Mary. Mary (Julie Graham) likes William. However the trials and tribulations of everyday life not least William's unusual job as an undertaker means that the path of love is destined not to run smooth...
Of all the spin-off TV incarnations of Star Trek, Deep Space Nine had the hardest job persuading an audience to watch. By all accounts, Gene Roddenberry had concerns about the idea before his death in 1991. It took two more years to develop, and when it finally aired in 1993 reasons for that concern were evident right away. The show was dark (literally), characters argued a lot, no one went anywhere and the neighbouring natives were hardly ever friendly. Yet for all that the show went against the grain of The Great Bird's original vision of the future, it undeniably caught the mood of the time, incorporating a complex political backdrop that mirrored our own. In the casting, there was a clear intent to differentiate the show from its predecessors. Genre stalwarts Tony Todd and James Earl Jones were considered for Commander Sisko before Avery Brooks. The one let down at the time was that Michelle Forbes did not carry Ensign Ro across from TNG, but when the explosive Nana Visitor defiantly slapped her hand on a console in the pilot episode, viewers knew they were in for a different crew dynamic. In fact, the two-part pilot show ("The Emissary") is largely responsible for DS9's early success. Mysterious, spiritual, claustrophobic, funny and feisty, it remains the most attention-grabbing series opener (apart from the Classic original) the franchise has had. The first year may have relied on a few too many familiar faces--like Picard, Q and Lwaxana Troi--but these were more than outweighed by refreshingly detailed explorations of cultures old and new (Trill, Bajoran, Cardassian, Ferengi). As it turned out, Deep Space Nine was the boldest venture into Roddenberry's galaxy that had been (or ever would be) seen. On the DVD: Star Trek Deep Space Nine, Series 1's hour of special features is split between seven featurettes that really would have worked better edited together. Covering the show's origins and most aspects of Year One's production design, they all crib from interviews with actors and crew from the 1992 shoot (exclusively so in the 10 "Hidden Files"). Other interviews conducted in 1999 and 2002 tend to be more revealing, although the solo section on Major Kira is curiously lacking in recent input. While the designers describe their work with passion, creators Michael Piller and Rick Berman come off as stiff and lacking in knowledge. Hopefully this is something that will improve through the next six box sets. The interactive CD-ROM to build a DS9 database on your PC is something that will become more involving, too. Obviously the most important thing is the episodes themselves, and despite the lack of a commentary to enhance the best of them, sound in 5.1 and the crisp full-frame picture do them ample justice. --Paul Tonks END
Performance art with Matthew Barney as the entered apprentice racing to the top of the Guggenheim Museum.
Collection of three festive family equine movies. In 'My Christmas Pony' (2015) teenager Juliet (Nadine Crocker) and her mother Karen (Krista Allen) move back to their old home in the country to visit her late grandfather's ranch. Initially unhappy to leave the city, Juliet soon warms to life at the struggling ranch when she discovers her grandfather's horse Rodeo and meets a young cowboy named Monty (Zeb Halsell). Together, will Juliet, her family and her new friends be able to save the ranch? In 'My Christmas Gift' (2017) city-dwelling accountant and single father Michael (Patrick Muldoon) struggles to see eye-to-eye with his teenage daughter and decides to accept an offer from a family farm out in the country who are currently engaged in a battle with a relentless bank manager. Thinking that a new start is all that the father-daughter team need, Michael and Chloe (Mandalynn Carlson) set up home in the country. Not entirely convinced by the move, Chloe continues to play the teenager card, but when Michael meets the farm owner's daughter Samantha (Charisma Carpenter), sparks begin to fly and a new life looks to be on the cards. In 'A Christmas Wish' (2013) the Kamp family are struggling to make ends meet in depression-era America. With his son's rising medical bills and the recent loss of his wife, things begin to take their toll on the family patriarch William (Brian Krause). As Christmas draws closer the children are expecting another holiday of festivities but their hopes are tested when their father gives them a dollar in change and challenges them to buy each other gifts with it. Facing a seemingly impossible challenge, will the children change their view of Christmas?
This second instalment in The Black Sabbath Story covers the period between 1978 and 1992. These were the wilderness years after founding vocalist Ozzy Osbourne left the group and it often seemed as though Sabbath had fitted their tour bus with a revolving door--by 1986, guitarist Tony Iommi was the only founder member left in the group. Five different vocalists are featured in this programme: Ronnie James Dio (ex-Rainbow), Ian Gillan (ex-Deep Purple), Glenn Hughes, Geoff Nicholls and Tony Martin. The nine promo videos collected here are representatives of an era that all but the most die-hard of Sabbath fans have tried to forget. It is an ignominy that is richly merited. The kindest thing that can be said of this collection of awful 80s hair-metal soundtracking dreadful black-and-white videos of men with haircuts that not even German football players would be caught dead with is that it's an interesting period piece. On the DVD: The Black Sabbath Story is presented in widescreen. Sound is available in Dolby 5.1 Surround or Dolby Digital. The menu of extras is badly laid out, but includes a gallery of Sabbath albums and further interviews with band members--including an extraordinary and hilarious reminiscence from Ian Gillan, which confirms that that Black Sabbath's reality was far more preposterous than any of the satirical conceits offered by This Is Spinal Tap.--Andrew Mueller
Few 1950s creature features deliver in the way Fiend Without a Face does. The first hour is all build-up as tension grows between an Air Force research base and a small Canadian town (this is one of those British B films that pretends to be set overseas) as a series of mystery deaths are blamed by the superstitious on weird military experiments. It's not a spoiler to give away the big revelation, since every item of publicity material, including the DVD cover, blows the surprise: the initially invisible culprits turn out to be a killer swarm of disembodied brains with eyes on stalks and inchworm-like spinal cord tails. These creatures have a nasty habit of latching onto victims and sucking out their grey matter. The finale is a siege of a house by the fiends, which swarm en masse making unsettling brain-sucking sounds, and are bloodily done away with by the heroes. Using excellent stop-motion animation, this climax goes beyond silliness and manages to be genuinely nightmarish. The orgy of splattering brains stands proud among the cinema's first attempts at genuine horror-comic glee, setting a precedent for everything from The Evil Dead to Peter Jackson's Braindead. Marshall Thompson is a bland, stolid uniformed hero and most of the rest of the cast struggle with "anadian" accents, but Kynaston Reeves is fun as the decrepit lone researcher whose fault it all is. On the DVD: Fiend Without a Face on disc comes with a montage of scenes from other films in this batch of releases (The Day of the Triffids, The Stars Look Down) that plays automatically when the disc is inserted, but otherwise not even a trailer, much less the commentary track and other material found on the pricey but luxurious US Region 1 Criterion release. The print has nice contrasts but is pretty grainy. --Kim Newman
One hundred miles beneath the ocean floor scientist attempting to reach an oil field unwittingly unleash a massive explosion. The resultant impact creates a tsunami that completely engulfs the tropical island of Kontiki and a mysterious earthquake that swallows the town on Moltov in northern Siberia. At a loss at how to remedy the situation U.S. geologists have no option but to track down disgraced scientist Brian Gordon forcing him to pilot the controversial ultra-sound drilling machine he invented in an effort to relieve the pressure building under the Earth's mantle that could trigger an explosion that would destroy everything above ground...
Baby Bugs Bunny Baby Bugs is smarter than the average baby. He is curious, playful, and a prankster. The leader of the group, sweet, smart, he's a shining example to the others of how to get out of trouble. In this set of adventures you see Bugs lead his friends on adventures out of the nursery and into the great big world outside... come and join the gang. Baby Tweety Baby Tweety loves nothing more than swinging on his little perch and singing songs. But don't rattle his cage! He is adorable until he's threatened, and when that happens, he knows how to take care of himself. In these great fun episodes Baby Tweety and his Looney Tunes babes discover bath times, making music and even meet a mad Martian! Baby Sylvester Baby Sylvester needs all of his nine lives, as he's always letting his curiosity get him into trouble. It's fast and furious fun as he playfully attempts to catch Baby Tweety for a tasty toon snack. These light-hearted adventures see Baby Sylvester turn green at a new arrival; the babies mess with magic, toys, hairstyles and eventually make their own fairytale endings. Baby Taz Baby Taz is always on the move, running, spinning, and eager to try and eat whatever's put in front of him. He's easily the dirtiest of the Baby Looney Tunes, but just try catching him for a bath. Here we see Taz in high-speed action at the babies' birthday party, having fun with cardboard boxes, learning lessons at a pretend school and from Granny as he breaks his favourite toys.
A psychiatrist moves out West after he is brought up on charges of sexual misconduct for which his adoring female attorney eventually gets the charges dropped... with the hope that this will move him to like her as much as she likes him. But it is not to be for this is a doctor who seems destined to be sexually involved with much more cunning than loving women and it isn't long before one of them has him caught up in an affair only to then have her 'husband' come and make accusat
West End Jungle
Please wait. Loading...
This site uses cookies.
More details in our privacy policy