By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot. The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighbourhood yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes. It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and colour co-ordinates their wardrobes for cocktail parties. --Sam Sutherland
Please note this is a region 2 DVD and will require a region 2 or region free DVD player in order to play. For one last time, enjoy Miranda Harts farcical, laugh out loud BBC sitcom; a place where the nation has embraced a woman who simply just wants to fit in. It begins where Series 3 left off, with the unlucky-in-love shop owner having received two proposals of marriage - one from dreamboat chef Gary and the other from new boyfriend Mike. Who will she choose, if anyone? And if she does make a decision, could she actually cope with the pressures of being a wife? Miranda is joined by, her eccentric mother Penny (Patricia Hodge), her boarding school frienemy Tilly (Sally Phillips), her long term crush Gary (Tom Ellis), nice-but-sensible Mike (Bo Paraj) and of course, her best friend Stevie (Sarah Hadland). Episode 1 - I Do, But To Who? Episode 2 - The Final Curtain
Blessed with a treasure of timeless songs South Pacific combines the passionate heartwarming romance of a naive young Navy nurse (Mitzi Gaynor) and an older French plantation owner (Rossano Brazzi) with South Seas splendour and a world at war while the breathtaking score is highlighted by some of the most romantic songs ever written.
Double bill of classic horror films. In 'Tales from the Crypt' (1972) five strangers go with a tourist group to explore a set of old caves. However, after becoming separated from the main party, a mysterious crypt keeper appears and begins to detail how each of them will die. 'Vault of Horror' (1973) features five separate horror tales, linked by the story of five men trapped in a vault beneath the Thames. The individual tales involve mysticism, vampires in an English town, the grisly end of an insurance racket, magicians, and the voodoo exploits of an artist who exacts revenge by painting the deaths of his detractors. The cast includes Daniel Massey, Anna Massey, Tom Baker and Terry-Thomas.
Cambridge Spies, the BBC's moody 2003 dramatisation of the most notorious debacle in the history of the British Secret Service, raises the spectre of the treachery of Philby, Burgess, MacLean and Blunt for a generation of viewers who can only imagine the shockwaves generated by their duplicity. Inevitably the story suffers from the basically repellent quality of its raw material. Determinedly non-judgemental, it frequently stumbles along a precarious path between romantic eulogy and fact-based fable of the perils of idealism. For all the handsome casting, the characters have little charm to compensate for their deeds. Their motivations are sketched only vaguely. Even in moments of personal vulnerability, however poignant the performances, sympathy is at a premium. But it has its high points as an atmospheric soap opera: the recreation of a period that stretches from the radical aspects of 1930s university life at Cambridge to Cold War London, dipping into the Spanish Civil War and the Washington diplomatic circle en route, is vivid. The acting, too, is fine. Tom Hollander's rampantly dissolute Burgess verges constantly on parody. But Toby Stephens (Philby), Samuel West (a frosty Blunt) and Rupert Penry-Jones (an emotionally wrung-out MacLean) work wonders with Peter Moffat's insubstantial script. On the DVD: Cambridge Spies is a handsome production with a cinematic quality enhanced by an appropriately edgy soundtrack and widescreen presentation. The main extra is the commentary shared by director Tim Fywell, producer Mark Shivas and writer Peter Moffat. It's a rather self-congratulatory affair, but includes some interesting insights: attempts to film some events in their real location met with refusal, suggesting that in some quarters, the outrage and embarrassment that Burgess, Philby and MacLean left in their wake is still very close to the surface. --Piers Ford
Victoria and Albert have very different expectations for a family Christmas, and the arrival of a young African orphan at the Palace puts them at loggerheads. Victoria is uncharacteristically melancholy in the festive season. Albert, on the other hand, is gripped by an obsession with staging the perfect family Christmas, and ruffles feathers as he transforms the Palace into a magical festive wonderland. But Victoria is furious to find that, in fact, Albert has invited two very unwelcome house guests. Tis the season for historic enmities to finally climax, new romances to blossom and sacrifices to be made but a terrifying accident calls the couple's priorities into question, and Victoria and Albert finally realise that they must leave behind the pain of their upbringings if they are to give their own children the Christmas that they never had.
Tom Hanks's debut as a writer and director is a lively, affectionate account of the shooting-star career of a forgotten (fictional) 1960s pop-rock band called The Wonders--as in "one-hit wonders". Hanks plays the manager of the group, which includes drummer Guy "Sticks" Patterson (Tom Everett Scott) who works the floor at his parents' appliance store in Erie, Pennsylvania; Jimmy (Johnathon Schaech), the talented and temperamental lead singer and songwriter; Lenny (Steve Zahn), the goofy guitarist; and Ethan Embry as a geeky little fellow identified in the cast list only as "The Bass Player". The movie traces their meteoric rise and fall, from cutting their first record, to going on tour with a Phil Spector/Motown-type revue, to the internal tensions that lead to the band's disintegration, which comes when they fail to follow up their smash hit single, "That Thing You Do!" And that song, by the way, is so catchy it would definitely have been a hit in 1964--and deserves to be one today. This delightful movie would make a great double-bill with Allison Anders's wonderful Grace of My Heart. --Jim Emerson
Lucifer Morningstar has decided he's had enough of being the dutiful servant in Hell and decides to spend some time on Earth to better understand humanity. He settles in Los Angeles - the City of Angels.
Alien is the first movie of one of the most popular sagas in science fiction history, and introduces Sigourney Weaver as Ripley, the iron-willed woman destined to battle the galaxy's ultimate creature. The terror begin when the crew of the spaceship Nostromo investigates a transmission from a desolate planet and makes a horrifying discovery - a life form that breeds within a human host. Now the crew must fight now only for its survival, but for the survival of all mankind. The UHD has the following: Directors cut 2003: 2003 Audio Commentary by Ridley Scott and the Cast and Crew Theatrical Version 1979 1999 Audio Commentary by Ridley Scott [1979 Theatrical Version Only] Final Theatrical Isolated Score 5.1 Dolby Digital [1979 Theatrical Version Only] Composer's Original Isolated Score 5.1 Dolby Digital [1979 Theatrical Version Only] Deleted Scenes
Mission Impossible Tom Cruise ignites the screen in this runaway smash hit that "holds you on the edge of your seat before blasting you out of it" (Howard Rosenberg, Los Angeles Times). Cruise stars as Ethan Hunt, a secret agent framed for the deaths of his espionage team. Fleeing from government assassins, breaking into the CIA's most impenetrable vault, clinging to the roof of a speeding bullet train, Hunt races like a burning fuse to stay one step ahead of his pursuers... and draw one step closer to discovering the shocking truth. Mission Impossible 2 The world's greatest spy returns in M:I-2. Top action director John Woo brings his own brand of excitement to the mission that finds Ethan Hunt (Tom Cruise) partnering up with the beautiful Nyah Hall (Thandie Newton) to stop renegade agent Sean Ambrose (Dougray Scott) from releasing a new kind of terror on an unsuspecting world. But before the mission is complete, they'll traverse the globe and have to choose between everything they love and everything they believe in. Mission Impossible 3 Tom Cruise stars as Ethan Hunt in this pulse-pounding thrill ride directed by J.J. Abrams (Lost, Alias). Lured back into action by his agency superiors (Laurence Fishburne and Billy Crudup), Ethan faces his deadliest adversary yet - a sadistic weapons dealer named Owen Davian (Oscar winner Philip Seymour Hoffman). With the support of his IMF team (Ving Rhames, Jonathan Rhys Meyers and Maggie Q), Ethan leaps into spectacular adventure from Rome to Shanghai as he races to rescue a captured agent (Keri Russell) and stop Davian from eliminating his next target: Ethan's wife, Julia (Michelle Monaghan). Mission Impossible: Ghost Protocol No plan. No backup. No choice. Agent Ethan Hunt (Tom Cruise) and his elite team (Jeremy Renner - The Avengers and Simon Pegg - Star Trek) go underground after a bombing of the Kremlin implicates the IMF as international terrorists. While trying to clear the agency's name, the team uncovers a plot to start a nuclear war. Now, to save the world, they must use every high-tech trick in the book. The mission has never been more real, more dangerous or more impossible. Mission Impossible: Rogue Nation Ethan and team take on their most impossible mission yet, eradicating the Syndicate - an International rogue organization as highly skilled as they are, committed to destroying the IMF. Click Images to Enlarge
The Gruffalo's Child, another magical tale from best selling author Julia Donaldson and illustrator Axel Scheffler, will premier on BBC One as a highlight of their Christmas schedule this year.It's some years later and The Gruffalo now has a daughter. Curious about her father's fantastic stories of a Big Bad Mouse in the deep, dark woods, she sets out one snowy night on a thrilling journey of discovery.Produced by Magic Light Pictures, a half hour animated film from the same team behind the hugely successful The Gruffalo.
Of all the "most anticipated" movies ever claiming that title, it's hard to imagine one that has caused so much speculation and breathless expectation as Christopher Nolan's final chapter to his magnificently brooding Batman trilogy, The Dark Knight Rises. Though it may not rise to the level of the mythic grandeur of its predecessor, The Dark Knight Rises is a truly magnificent work of cinematic brilliance that commandingly completes the cycle and is as heavy with literary resonance as it is of-the-moment insight into the political and social affairs unfolding on the world stage. That it is also a full-blown and fully realized epic crime drama packed with state-of-the-art action relying equally on immaculate CGI fakery and heart-stopping practical effects and stunt work makes its entrée into blockbuster history worthy of all the anticipation and more. It deserves all the accolades it will get for bringing an opulently baroque view of a comic book universe to life with sinister effectiveness. Set eight years after the events of The Dark Knight, TDK Rises finds Bruce Wayne broken in spirit and body from his moral and physical battle with the Joker. Gotham City is at peace primarily because Batman took the fall for Harvey Dent's murder, allowing the former district attorney's memory to remain as a crime-fighting hero rather than the lunatic destructor he became as Two-Face. But that meant Batman's cape and cowl wound up in cold storage--perhaps for good--with only police commissioner Jim Gordon in possession of the truth. The threat that faces Gotham now is by no means new; as deployed by the intricate script that weaves themes first explored in Batman Begins, fundamental conflicts that predate his own origins are at the heart of the ultimate struggle that will leave Batman and his city either triumphant or in ashes. It is one of the movie's greatest achievements that we really don't know which way it will end up until its final exhilarating moments. Intricate may be an understatement in the construction of the script by Nolan and his brother Jonathan. The multilayered story includes a battle for control of Wayne Industries and the decimation of Bruce Wayne's personal wealth; a destructive yet potentially earth-saving clean energy source; a desolate prison colony on the other side of the globe; terrorist attacks against people, property, and the world's economic foundation; the redistribution of wealth to the 99 percent; and a virtuoso jewel thief who is identified in every way except name as Catwoman. Played with saucy fun and sexy danger by Anne Hathaway, Selina Kyle is sort of the catalyst (!) for all the plot threads, especially when she whispers into Bruce's ear at a charity ball some prescient words about a coming storm that will tear Gotham asunder. As unpredictable as it is sometimes hard to follow, the winds of this storm blow in a raft of diverse and extremely compelling new characters (including Selina Kyle) who are all part of a dance that ends with the ballet of a cataclysmic denouement. Among the new faces are Marion Cotillard as a green-energy advocate and Wayne Industries board member and Joseph Gordon-Levitt as a devoted Gotham cop who may lead Nolan into a new comic book franchise. The hulking monster Bane, played by Tom Hardy with powerful confidence even under a clawlike mask, is so much more than a villain (and the toughest match yet for Batman's prowess). Though he ends up being less important to the movie's moral themes and can't really match Heath Ledger's maniacal turn as Joker, his mesmerizing swagger and presence as demonic force personified are an affecting counterpoint to the moral battle that rages within Batman himself. Christian Bale gives his most dynamic performance yet as the tortured hero, and Michael Caine (Alfred), Gary Oldman (Gordon), and Morgan Freeman (Lucius Fox) all return with more gravitas and emotional weight than ever before. Then there's the action. Punctuated by three or four magnificent set pieces, TDKR deftly mixes the cinematic process of providing information with punches of pow throughout (an airplane-to-airplane kidnap/rescue, an institutional terrorist assault and subsequent chase, and the choreographed crippling of an entire city are the above-mentioned highlights). The added impact of the movie's extensive Imax footage ups the wow factor, all of it kinetically controlled by Nolan and his top lieutenants Wally Pfister (cinematography), Hans Zimmer (composer), Lee Smith (editor), and Nathan Crowley and Kevin Kavanaugh (production designers). The best recommendation TDKR carries is that it does not leave one wanting for more. At 164 minutes, there's plenty of nonstop dramatic enthrallment for a single sitting. More important, there's a deep sense of satisfaction that The Dark Knight Rises leaves as the fulfilling conclusion to an absorbing saga that remains relevant, resonant, and above all thoroughly entertaining. --Ted Fry
Having developed his skill as a master of contemporary crime drama, writer-director Michael Mann displayed every aspect of that mastery in this intelligent, character-driven thriller from 1995, which also marked the first onscreen pairing of Robert De Niro and Al Pacino. The two great actors had played father and son in the separate time periods of The Godfather, Part II, but this was the first film in which the pair appeared together, and although their only scene together is brief, it's the riveting fulcrum of this high-tech cops-and-robbers scenario. De Niro plays a master thief with highly skilled partners (Val Kilmer and Tom Sizemore) whose latest heist draws the attention of Pacino, playing a seasoned Los Angeles detective whose investigation reveals that cop and criminal lead similar lives. Both are so devoted to their professions that their personal lives are a disaster. Pacino's with a wife (Diane Venora) who cheats to avoid the reality of their desolate marriage; De Niro pays the price for a life with no outside connections; and Kilmer's wife (Ashley Judd) has all but given up hope that her husband will quit his criminal career. These are men obsessed, and as De Niro and Pacino know, they'll both do whatever's necessary to bring the other down. Mann's brilliant screenplay explores these personal obsessions and sacrifices with absorbing insight, and the tension mounts with some of the most riveting action sequences ever filmed--most notably a daylight siege that turns downtown Los Angeles into a virtual war zone of automatic gunfire. At nearly three hours, heat qualifies as a kind of intimate epic, certain to leave some viewers impatiently waiting for more action, but it's all part of Mann's compelling strategy. Heat is a true rarity: a crime thriller with equal measures of intense excitement and dramatic depth, giving De Niro and Pacino a prime showcase for their finely matched talents. --Jeff Shannon
One of several features pairing British screen sweetheart Anna Neagle with the ever-popular Michael Wilding, this jaunty 'upstairs-downstairs' romantic comedy could hardly have failed to triumph at the box-office, and Spring in Park Lane would indeed prove the most successful British film of 1948 - its fairytale scenes and witty reversal of social roles offering cinemagoers a welcome antidote to post-war austerity. The film, which also marked another major success for Neagle's husband, direct.
Stephen King's The Dark Tower, the ambitious story from one of the world's most-celebrated authors, makes its long-awaited launch to the big screen, starring Idris Elba as Roland Deschain and Matthew McConaughey as the Man in Black. Sharing an ancient vendetta, they must fight to the death in this epic battle over the fate of the All-World Universe. Click Images to Enlarge
Strike tells the police that the circumstances of Rochelle's death merit further investigation but is dismissed. He seeks out Lula's friends and learns that Lula was looking for her biological family.
Harry must compete in the prestigious Triwizard Tournament in this fantasy smash.
Pauline Collins repeats her stage success as the character Shirley Valentine, a married woman who decides in her middle years that she wants more out of life. Leaving her spouse behind, she heads to Greece, where she grows close to a low-key local bloke (Tom Conti). Collins and director Lewis Gilbert (Educating Rita) choose to let the character, as she did in the play, speak directly to the audience at times and the gamble works in terms of creating a gentle, intimate atmosphere. Conti is a bonus, a warm presence and funny to boot. --Tom Keogh
Emma Thompson scores a double bull's-eye with this marvellous adaptation of Jane Austen's novel . Not only does Thompson turn in a strong (and gently humorous) performance as Elinor Dashwood--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister, Marianne (the one with "sensibility"). Winslet attracts the wooing of shy Alan Rickman (a nice change of pace from his bad-guy roles) and dashing Greg Wise, while Thompson must endure an incredibly roundabout courtship with Hugh Grant, here in fine and funny form. All of this is doled out with the usual eye-filling English countryside and handsome costumes, yet the film always seems to be about the careful interior lives of its characters. The director, an inspired choice, is Taiwan-born Ang Lee, who brings the same exquisite taste and discreet touch he displayed in his previous Asian films (such as Eat Drink Man Woman). Thompson's script won an Oscar. --Robert Horton, Amazon.com
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