Harry must compete in the prestigious Triwizard Tournament in this fantasy smash.
Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is no match for her internal strength and purity of heart. Drew Barrymore plays Cinderella's alleged inspiration, Danielle, in this romantic drama that purports to tell the "facts" behind the Grimm brothers' story. One of three daughters of a man (Jeroen Krabbé) who dies and leaves her fate in the hands of a conniving stepmother (Anjelica Huston), Danielle is cast into the lowly role of a servant. Meanwhile, her sisters are evaluated as possible mates for a French prince (Dougray Scott), but he's far more intrigued with Danielle's intelligence and beauty--not to mention her way with a sword and fist. Directed by Andy Tennant (who directed Barrymore in TV's The Amy Fisher Story), Ever After has that rare ability to win the heart and mind of a viewer simply by being committed to its own innocence, particularly where Barrymore's luminous performance is concerned. A contemporary take on an old, virtually forgotten Hollywood convention--the costume adventure with middling artistic ambition but real audience appeal--Ever After is a surprisingly delightful film. --Tom Keogh
1880's London. The popular comic operas of Gilbert (words) and Sullivan (music) have never failed, but their latest, 'Princess Ida' receives a lukewarm press.
The parents of a girl who was killed by a savage dog are granted the opportunity to spend three days with their deceased daughter.
Harry must compete in the prestigious Triwizard Tournament in this fantasy smash.
When Harry Met Sally: Will sex ruin a perfect relationship between a man and a woman? That's what Harry (Crystal) and Sally (Ryan) debate during their trip from Chicago to New York. And eleven years later they're sill no closer to finding the answer. Will these two best friends ever accept that they're meant for each other... or will they continue to deny the attraction that's existed since the first moment when Harry met Sally? French Kiss: Straight-laced Kate (Ryan)has her future all planned out: marry her fiance Charlie (Timothy Hutton) and live happily ever after. What she didn't count on was Juliette the beautiful French woman Charlie falls for on a business trip to Paris! Determined to win him back Kate jumps on a plane where she meets Luc (Kline) a petty thief whom she immediately dislikes. But when Luc sneaks a stolen necklace into Kate's purse she finds herself travelling through France with him on a trip full of surprises: the biggest one being that this con man is stealing her heart! A sexy savvy and very funny romantic romp 'French Kiss' is a passionate heartfelt reminder that life can always surprise you. Jack And Sarah: Jack (Richard E. Grant) has it all - a perfect marriage a successful career and a dream home. But his world crumbles when his wife dies giving birth to their daughter Sarah. Even though he is struggling to cope with his broken heart and a newborn baby Jack rejects the offers of help from his family (Judy Dench and David Swift) in a bid to prove his independence. Instead he builds a quirky family of his own when he takes on a down-and-out (Ian McKellen) to be his housekeeper and American waitress Amy (Samantha Mathis) to be his nanny. Once Amy moves in life becomes a series of mishaps and conflicts with touchingly funny moments as the mis-matched characters learn to live with each other. But when Jack's female boss begins to show more than a professional interest in him the tension mounts as Amy and Jack begin to realise their true feeling for each other....
Based on the novel by Larry McMurty The Last Picture Show is a more bitter than bittersweet drama about growing up and winding down in the dusty nowhere town of Anarene, Texas, during 1951-52. Unusually shot in black and white while the rest of Hollywood was going psychedelic in 1971, it's an interesting contrast with the rock 'n' roll nostalgia of American Graffiti (the films share a key moment in which the boy who is leaving town gives a precious car to his stay-at-home friend and both make oblique references to Vietnam). It visits a recent past already nostalgic for a heroic Western era and discovers that whatever was wonderful has already gone by the time of these teenagers. Introspective Timothy Bottoms and outgoing Jeff Bridges are best friends and stalwarts of the school's losing football team. Cybill Shepherd is the blonde teen queen who innocently spreads chaos, ditching long-time boyfriend Bridges to run with a richer, faster set. She steals Bottoms away from an older married woman (Cloris Leachman) which prompts a vicious falling-out between Bottoms and Bridges. As the kids run around heedless, the town's older generation remember their own wilder days and wonder how they came to be so unhappy. Ben Johnson, in Academy Award-winning form, is "Sam the Lion", the wise old cowboy who runs the movie house and pool hall. He muses about his long-ago affair with Shepherd's feisty mother (Ellen Burstyn), who is currently throwing herself at a callous oilman stud (Clu Gulager). A soap in essence but director Peter Bogdanovich plays it as a John Ford-style "closing of the frontier" Western, with ugly-beautiful images of a West that has swapped cattle for oil but failed to strike it rich. He layers in evocative snatches of Hank Williams among the whistling winds and the whining locals. It perhaps has a tragedy too many in its last act and can't quite work up the tears with an actual martyrdom, but it does deliver a signature line of wistful regret, "nothing's been right since Sam the Lion died".On the DVD: this is an anamorphic widescreen 1.85:1 version of the 121-minute 1974 re-release, with one additional scene for Eileen Brennan's waitress, now labelled "the director's cut". It boasts a great sounding mono track, with alternate soundtracks and subtitles in a bunch of languages; a tiny promo piece from 1974 with a Bogdanovich interview; a solid hour-long retrospective documentary with interviews from a lot of the cast and crew (including future director Frank Marshall, an assistant and bit-player) and some trailers. Oddly, Bogdanovich has done a full-length commentary for Orson Welles' Citizen Kane but not for his own best film. --Kim Newman
If a film fan had never heard of director Mike Leigh, one might explain him as a British Woody Allen. Not that Leighs films are whimsical or neurotic; they are tough-love examinations of British life--funny, outlandish and biting. His films share a real immediacy with Allens work: they feel as if they are happening now. Leigh works with actors--real actors--on ideas and language. There is no script at the start (and sometimes not at the end). Secrets and Lies involves Hortense (Marianne Jean-Baptiste), an elegant black woman wanting to learn her birth mothers identity. She will find its Cynthia (Brenda Blethyn), who is one of the saddest creatures weve seen in film. Shes also one of the most real and, ultimately, one of the most loveable. Timothy Spall is Cynthias brother, a giant man full of love who is being slowly defeated by his fastidious wife (Phyllis Logan). There is a great exuberance of life in Secrets & Lies, winner of the Palme DOr and best actress (Blethyn) at the 1996 Cannes Film Festival--not Zorba-type life but the little battles fought and won every day. Leighs honest interpretation of daily life is usually found only on the stage. Secrets & Lies is more realistic than a stage production, however, especially when Leigh shows us uninterrupted scenes. Critic David Denby states that Leigh has "made an Ingmar Bergman film without an instant of heaviness or pretension." If that sounds like your cup of tea, see Secrets & Lies. --Doug Thomas
The Tom Cruise Collection. Vanilla Sky: David Aames (Tom Cruise) appears to lead a charmed life. Handsome wealthy and charismatic the young New York City publishing executive's freewheeling existence is enchanting yet he seems to be missing something. Then in one night David meets Sofia (Penelope Cruz) the girl of his dreams but loses her by making a small mistake. Thrust unexpectedly onto a roller-coaster ride of romance comedy suspicion love sex and dreams Davi
When Harry Potter's name emerges from the Goblet of Fire, he becomes a competitor in a grueling battle for glory among three wizarding schools the Triwizard Tournament. But since Harry never submitted his name for the Tournament, who did? Now Harry must confront a deadly dragon, fierce water demons and an enchanted maze only to find himself in the cruel grasp of He-Who-Must-Not-Be-Named. In this fourth film adaptation of J.K. Rowling's Harry Potter series, everything changes as Harry, Ron and Hermione leave childhood forever and take on challenges greater than anything they could have imagined.
When Harry Potter's name emerges from the Goblet of Fire, he becomes a competitor in a grueling battle for glory among three wizarding schools the Triwizard Tournament. But since Harry never submitted his name for the Tournament, who did? Now Harry must confront a deadly dragon, fierce water demons and an enchanted maze only to find himself in the cruel grasp of He-Who-Must-Not-Be-Named. In this fourth film adaptation of J.K. Rowling's Harry Potter series, everything changes as Harry, Ron and Hermione leave childhood forever and take on challenges greater than anything they could have imagined.
Jimmy McGovern one of British television's most prolific and influential writing talents returns with a major new drama series starring Jim Broadbent Sue Johnston and Jane Horrocks. Set in the North of England each episode concentrates on a different house in the street; each story is unique and individual but linked by community shared experience and an indomitable sense of humour.
When Harry Potter's name emerges from the Goblet of Fire he becomes a competitor in a grueling battle for glory among three wizarding schools - the Triwizard Tournament. But since Harry never submitted his name for the Tournament who did? Now Harry must confront a deadly dragon fierce water demons and an enchanted maze only to find himself in the cruel grasp of He Who Must Not Be Named. In this fourth film adaptation of J.K. Rowling's Harry Potter series everything changes as Harry Ron and Hermione leave childhood forever and take on challenges greater than anything they could have imagined.
Although it's enjoyable as a brainless diversion, National Security is one of those forgettable entertainments that denies its own considerable potential. It's a police action comedy in the mould of Beverly Hills Cop, tailored to the buddy-flick formula and laced with racial tensions of the post-Rodney King era. It's set in Los Angeles, where dedicated cop Hank (Steve Zahn) does jail time for allegedly beating Earl (Martin Lawrence), whose only real assailant was an overzealous bumblebee. As fate and lazy screenwriting would have it, the two adversaries reunite as security guards, teaming up to crack a team of violent smugglers led by bleached-blond Eric Roberts (further proof that this movie's got nothing new to offer). Routine stunts distract from the comedy's mostly untapped resource: Lawrence pointedly riffs on racial profiling, and his prolific ad-libs play well against Zahn's by-the-book straight man. If their partnership had been allowed to develop more believably, National Security might have been more than a blip on the box-office radar. --Jeff Shannon
While attending a fundraising gala Sarah Jordan (Jolie) a naive married American socialite living in England witnesses a fiery plea delivered by an intruder renegade humanitarian Dr. Nick Callahan (Clive Owen). His plea made on behalf of impoverished African children under his care turns Sarah's life upside down. Attracted to Nick and his cause she impulsively abandons her sheltered life in England to work along side him in his effort to aid the helpless and anguished victims.
Director Peter Bogdanovich revisits small-town Texas life in the long-awaited sequel to his 1971 masterpiece 'The Last Picture Show'. It's been over 30 years since Duane Jackson Sonny Crawford and Jacy Farrow graduated from high school. Life is still bittersweet as the town prepares to host the county's centennial celebration. Duane struck it rich with oil but is saddled with $12 million in debt and a shopaholic wife Karla. To make matters worse his dysfunctional children are out
A grim, disheartening view of the underside of city life, Q & A is a legal drama with a disturbing twist. Not exactly a whodunit--the guilt of policeman Nick Nolte is established early on--the plot follows the closing of the circle around him. Leading the murder investigation is Timothy Huttons young, idealistic district attorney Al Reilly, who finds himself battling a fraudulent and cynical culture. Racism, corruption and political machinations are all added to the mix, resulting in a film that is just a little too dense and slow moving to capture the imagination. Director Sidney Lumet creates a feeling of enveloping darkness around Hutton, who slowly manages to let the light in and bring the truth to the surface. With an obviously small budget, the film has more of a made-for-television feel than that of a big blockbuster and some of the performances err too much on the side of cliché. The concept of the New York melting pot is fairly effectively dismissed by the film, painting a picture of distrust between communities that often spills into verbal and physical violence. Not quite as unremittingly bleak as Harvey Kietels Bad Lieutenant, Q & A is still a tough, dark piece of cinema. On the DVD: Q & A is very much a film of the night, with much of the action taking place either in the shadows or in rooms with harsh, artificial light. The picture on the DVD reflects that perfectly, although the lack of budget is hard to disguise. The soundtrack quality is good, if not startling, but there are no extras aside from the movies theatrical trailer. All in all, its a fairly average package. --Phil Udell
With over three hours of films Cinema 16: American Short Films is essential viewing for anyone with an interest in the moving image. The majority of the films are accompanied by audio commentaries almost always by the directors themselves. Highlights include early films from Hollywood powerhouses Todd Solondz Tim Burton and George 'Star Wars' Lucas! Films Featured: 1.The Lunch Date (Dir. Adam Davidson 1990 11 mins) 2.Carmen (Dir. Alexander Payne 1985 18 m
If a film fan had never heard of director Mike Leigh, one might explain him as a British Woody Allen. Not that Leigh's films are whimsical or neurotic; they are tough-love examinations of British life--funny, outlandish and biting. His films share a real immediacy with Allen's work: they feel as if they are happening now. Leigh works with actors--real actors--on ideas and language. There is no script at the start (and sometimes not at the end). Secrets and Lies involves Hortense (Marianne Jean-Baptiste), an elegant black woman wanting to learn her birth mother's identity. She will find it's Cynthia (Brenda Blethyn), who is one of the saddest creatures we've seen in film. She's also one of the most real and, ultimately, one of the most loveable. Timothy Spall is Cynthia's brother, a giant man full of love who is being slowly defeated by his fastidious wife (Phyllis Logan). There is a great exuberance of life in Secrets & Lies, winner of the Palme D'Or and best actress (Blethyn) at the 1996 Cannes Film Festival--not Zorba-type life but the little battles fought and won every day. Leigh's honest interpretation of daily life is usually found only on the stage. Secrets & Lies is more realistic than a stage production, however, especially when Leigh shows us uninterrupted scenes. Critic David Denby states that Leigh has "made an Ingmar Bergman film without an instant of heaviness or pretension." If that sounds like your cup of tea, see Secrets & Lies. --Doug Thomas
Clive Donner's take on the classic Dickens tale of an orphan boy who escapes the horrors of the orphanage only to be taken in by a band of thieves and pickpockets...
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