Pure. Popcorn. Entertainment. That's an exact classification of director Michael Bay's Transformers: Revenge of the Fallen. The action is nonstop, with battles and explosions from start to finish. The camera (without any subtlety) exploits Megan Fox's hotness to the max. As if she weren't enough, a new sex kitten (Isabel Lucas) is thrown into the equation. Shia LaBeouf is as charismatic as ever, and fills the starring role with ease. And then there's the humour. Sam's parents (Kevin Dunn and Julie White) provided some semi-raunchy laugh-out-loud moments in the first movie, but now they take it to the next level. Sometimes it seems like they are trying a little too hard, but it is still hilarious. As far as the plot goes, the writers didn't waste much time--it's really just a context for the giant-robot death matches and dramatic slow-mo sequences. The movie kicks off two years later where the Autobots have formed an alliance with the U.S. government, creating an elite team led by Major Lennox (Josh Duhamel), in an effort to snuff out any remaining Decepticons that show up. The bad guys keep coming, and it turns out that a much more menacing force than Megatron is out there--and it is looking for something on Earth that is tied to the very origin of the Transformers race. Fans of the franchise will be delighted by the addition of many new robot characters (there are well over 40 in the sequel, versus only 13 in the first). The second Transformers has shaped up to be one of the worst reviewed and most successful movies of all time. This strange pairing is really just an indication that this movie has one purpose: to entertain. The creators didn't want to waste time bogging down the action and drama with substance--which was arguably a good decision. --Jordan Thompson
Collateral Damage: A firefighter (Arnold Schwarzenegger) is plunged into the complex and dangerous world of international terrorism after he loses his wife and child in a bombing. Frustrated by the government's stalled investigation and haunted by the thought that the man responsible for murdering his family might never be brought to justice he takes matters into his own hands and tracks the bomber to Columbia... Swordfish: John Travolta stars as Gabriel Shear a sinister mastermind with an elite criminal crew who are desperately trying to access information locked inside a complicated computer system that contains government secrets and if they can hack it a billion payday... Driven: Sylvester Stallone plays a talented veteran driver who confronts the lost potential of his past when called out of retirement to mentor a talented but unfocused rookie contender (Kip Pardue) whose destructive behavior pursuing the girlfriend (Estella Warren) of his primary racing rival (Til Schweiger). Start your engines!
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
Few Days In September
Jose has stolen a multi-million pound shipment of Viagra from the Mob. Hot on his trail from New York is tough guy Eddie Colucci assigned the task of getting it all back... The chase is on to find it in cattle country where the Cowboys are set to take on the Mobsters...
You Don't Mess With The Zohan: Director Dennis Dugan and screenwriters Adam Sandler Robert Smigel (Triumph the Insult Comic Dog) and Judd Apatow (Knocked Up) present You Don't Mess With The Zohan - a hilarious comedy about a Mossad Agent (Sandler) who fakes his own death in order to pursue his dream... To become a hairstylist in New York! I Now Pronounce You Chuck And Larry: Featuring Adam Sandler and Kevin James as Chuck Levine and Larry Valentine; two firefighters who are the pride of their fire station: two guy's guys always side-by-side and willing to do anything for each other. Grateful Chuck owes Larry for saving his life in a fire and Larry calls in that favor big time when civic red tape prevents him from naming his own two kids as his life insurance beneficiaries. But when an overzealous spot-checking bureaucrat becomes suspicious the new couple's arrangement becomes a citywide issue and goes from confidential to front-page news. Forced to improvise as love-struck newlyweds Chuck and Larry must now fumble through a hilarious charade of domestic bliss under one roof. After surviving their mandatory honeymoon and dodging the threat of exposure the well-intentioned con men discover that sticking together in your time of need is what truly makes a family.
Previous UK releases of Catchfire have listed the pseudonymous Allan Smithee as director, but this version proudly opens with "a Dennis Hopper film". Also known as Backtrack, it offers a plot that advances by illogical leaps and bounds while whole scenes seem to go astray. With prominently billed actors getting almost nothing to do while major players go un-credited, a bland music score that might have been laid in from another film entirely and an ending that makes a lot of noise without actually resolving much, the film certainly has its bad points. However, it's also one of Hopper's more eccentric films, and more fun than Colors or The Hot Spot (which he had no trouble owning up to), partly because the director also takes a quirky lead role and his own personal interests are stirred by the modern art frills of the chase plot. The film opens with LA-based conceptual artist Jodie Foster, looking chunkily terrific just before her adult career took off, suffering a minor breakdown on the freeway and happening on a gangland execution. Pint-sized mob boss Joe Pesci sets his killers on her but the crooks ineptly murder Foster's boyfriend (Charlie Sheen, taking a very early bath). Pesci calls in Hopper, a professional hitman who immerses himself in Foster's life and art in order to track her down only to develop an obsessive crush on the woman. When he finds her, he gives her the choice between getting rubbed out or becoming his property. Hopper retains the knack for finding odd-looking byways of rural America, but is uncomfortable with helicopter chases and shoot-outs. The leads, despite great chunks of missing story, are both interesting--Foster sexily vulnerable and Hopper doing a wry New York drawl as the sax-playing hit man. Catchfire also offers an amazing supporting cast of the director's friends, including Dean Stockwell, Vincent Price, Catherine Keener (Being John Malkovich), Tony Sirico (The Sopranos), Bob Dylan (with a chainsaw), Helena Kallianotes (Five Easy Pieces), Julia Adams (The Creature from the Black Lagoon), and John Turturro.On the DVD: the film itself comes in a good-looking widescreen transfer, but the lack of special features let the disc down, with only feeble notes for three cast members (and no Smithee filmography). --Kim Newman
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
Excess Baggage: Brazen yet emotionally neglected Emily T. Hope (Alicia Silverstone) desperate for her father's attention stages her own kidnapping. But before she can enjoy a happy reunion with her father her car gets stolen with Emily still inside and professional car thief Vincent Roche (Benicio Del Toro) is about to find out that he's stolen a lot more than he bargained for! And when Emily's sinister ex-CIA 'uncle' (Christopher Walken) starts tracking them down the heat can only get hotter in this hilariously romantic adventure! Biloxi Blues: In this semi-autobiographical screenplay Neil Simon's private memoirs in the US Army are made public. Set in 1943 at an army base in Biloxi Mississippi a lowly recruit (Broderick) comes under the command of a very weird drill sergeant (Walken)... Go: Ronna needs to make some extra cash. Simon wants to escape to Vegas for the weekend. Adam and Zack want to stay out of trouble. But it's not just another night in the life of these unusual characters. They're about to embark on a wild ride that won't end until the sun comes up.
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
Features the episodes 'House Arrest' 'Knight in White Satin' and 'Armour Funhouse'. Tony Soprano impacts many people. Dr. Melfi steels herself with vodka before sessions with the trouble capo di tutti. The eyes of Richie Aprile become hate-filled Manson lamps as he schemes to cap the capo. Uncle Corrado (Dominic Chianese) is still allowed to pull strings that aren't there. Pussy is playing junior G-Man to nail his boss to an indictment. But the person Tony impacts the most is Tony. He's a tormented work in progress - a torment that would lessen if Richie took a permanent nap. Janice took a bus back to Seattle and Pussy took a boat ride from which he didn't return. So guess what happens?
The second series of The Sopranos, David Chase's ultra-cool and ultra-modern take on New Jersey gangster life, matches the brilliance of the first, although it's marginally less violent, with more emphasis given to the stories and obsessions of supporting characters. Sadly, the programme makers were forced to throttle back on the appalling struggle between gang boss Tony Soprano and his Gorgon-like Mother Livia, the very stuff of Greek theatre, following actress Nancy Marchand's unsuccessful battle against cancer. Taking up her slack, however, is Tony's big sister Janice, a New Age victim and arrant schemer and sponger, who takes up with the twitchy, Scarface-wannabe Richie Aprile, brother of former boss Jackie, out of prison and a minor pain in Tony's ass. Other running sub-plots include soldier Chris (Michael Imperioli) hapless efforts to sell his real-life Mafia story to Hollywood, the return and treachery of Big Pussy and Tony's wife Carmela's ruthlessness in placing daughter Meadow in the right college. Even with the action so dispersed, however, James Gandofini is still toweringly dominant as Tony. The genius of his performance, and of the programme makers, is that, despite Tony being a whoring, unscrupulous, sexist boor, a crime boss and a murderer, we somehow end up feeling and rooting for him, because he's also a family man with a bratty brood to feed, who's getting his balls busted on all sides, to say nothing of keeping the Government off his back. He's the kind of crime boss we'd like to feel we would be. Tony's decent Italian-American therapist Dr Melfi's (Loraine Bracco) perverse attraction with her gangster-patient reflects our own and, in her case, causes her to lose her first series cool and turn to drink this time around. Effortlessly multi-dimensional, funny and frightening, devoid of the sentimentality that afflicts even great American TV like The West Wing, The Sopranos is boss of bosses in its televisual era. --David Stubbs
With this search team... pray you don't get lost. While working on a documentary on his old neighborhood a young film school graduate shifts the focus of his production onto the disappearance of a local resident and the strange characters who are conducting the search to find him...
Nixon (Dir. Oliver Stone 1995): Nixon takes a riveting look at a complex man whose chance at greatness was ultimately destroyed by his passion for power - when his involvement in conspiracy jeopardized the nation's security and the presidency of the United States! With a phenomenal all-star cast. Shadow Conspiracy (Dir. George Pan Cosmatos 1997): Bobby Bishop (Charlie Sheen) is one of the President's most powerful and trusted advisors but when he becomes involved with a college professor who has information on a traitor he suddenly becomes a fugitive. Hunted down in the dead of night by a ruthless killer Bishop enlists the help of former girlfriend Amanda Givens (Linda Hamilton) a plucky reporter and together they uncover a hideous conspiracy. But Bishop is now an outsider and must try to get Washington to believe him before it's too late... American History X (Dir. Tony Kaye 1998): Derek Vinyard (Edward Norton) the charismatic leader of a group of young white supremacists lands in prison for a brutal hate-driven murder. Upon his release ashamed of his past and pledging to reform Derek realises he must save his younger brother Danny (Edward Furlong) from a similar fate. A groundbreaking controversial drama about the tragic consequences of racism in a family.
Adam Sandler and Kevin James team as two straight guys who stumble down the aisle in this new comedy.
Wire In The Blood - Shadow Rising Robson Green plays Dr Tony Hill a clinical psychologist with empathy beyond the established boundaries of his science in 'Wire In The Blood' based on the best selling novels by Val McDermid. Until now the only serial killers Dr Tony Hill encountered were safely behind bars. Now the murderer is on the loose.... Wire In The Blood - The Mermaids Snging Wire In The Blood - Justice Painted Blind Crime Spree An out-of-town heist becomes a nightmare for a crew of French burglars when they mistakenly rob the head of the Chicago Mafia. In Cold blood Phoenix In this town the heat can kill you These days it seems like everybody's addicted to something and for Detective Harry Collins gambling is his drug. He'll bet on anything no matter the odds just for the rush. But this time he's in over his head. Caught between a brutal bookie a lethal loan shark and a murderous heist gone wrong Harry has a daring plan to settle his debts once and for all. The Custodian Quinlan is a dedicated cop and one of the few that isn't on the take. But Quinlan Knows the score and decides if you can't beat'em join'em. Quinlan's life will never be the same again. He lies cheats and bends the rules because he's the last of the honest cops. The Last Bet A trio of New York bookies take bets on anything and everything worrying about the odds after the event. However a dedicated cop is ready to ensure that their books are about to be closed permamently... Night at the Golden Eagle Two ex-cons are spending their last night in L.A. before leaving town for a life without crime. But on the hottest night of the summer in the seedy splendour of the Golden Eagle hotel where prostitutes pimps drunken bums and young runaways collide you never know who's going to turn up dead. Bonnano: The Youngest Godfather
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