Dutiful cavalry officer Nathan Brittles (John Wayne) is reluctant to retire in the face of an imminent Native American uprising. His last official task is to escort the commander's wife and her niece to the Sudrow's Wells stagecoach stop but it proves to be a journey fraught with danger. This film the second in John Ford's cavalry trilogy is a masterpiece of the cinema and is acclaimed as one of the greatest Westerns ever made.
Dashing Captain Fabian, adventurer on the high seas, returns home to seek vengeance on the Brissac family who defrauded his father, and stumbles upon murder and double-dealings amongst the corrupt New Orleans high society in the 1860s... Lea, a beautiful French Creole maid, has a similar grudge after her mother was hanged for witchcraft. When a night of revelry is interrupted by George Brissac, Lea's former lover, a man is killed. Lea is arrested for murder. Fabian, realizing that all is not...
Exclusive Art By Matt Ferguson The year is 2005 For millennia, the heroic Autobots, led by Optimus Prime (Peter Cullen), have been at war with the evil Megatron (Frank Welker) and his Decepticons over control of their home planet of Cybertron. However, an even greater threat Unicron (Orson Welles, Citizen Kane), a colossal converting planet that devours everything in its path is heading right for Cybertron. The only hope is the Autobot Matrix of Leadership. Will the Autobots be able to save themselves and their home world in time? An all-star cast, including Judd Nelson (The Breakfast Club), Leonard Nimoy (Star Trek), Eric Idle (the Monty Python films) and Robert Stack (The Untouchables), brings this inimitable, explosively entertaining Autobot adventure to life. Special Features New 4k Transfer From Original Film Elements New Feature-Length Storyboards, including deleted, alternate and extended sequences New Fathom Events 30th Anniversary Featurette, including Stan Bush's acoustic performances of The Touch and Dare 'Til All Are One A comprehensive documentary looking back at The Transformers: The Movie with members of the cast and crew, including story consultant Flint Dille, cast members Gregg Berger, Neil Ross, Dan Gilvezan, singer/songwriter Stan Bush, composer Vince Dicola and others! Audio Commentary with Director Nelson Shin, story consultant Flint Dille and star Susan Blu Featurettes Animated Storyboards Trailers and TV Spots
In the powerfully emotional drama LIE WITH ME, successful novelist Stephane Belcourt (Guillaume de Tonquedec) returns to his hometown for the first time in decades as an ambassador for a famous cognac distillery. Once there, he is stunned to discover that one of the company's executives is Lucas (Victor Belmondo), the son of his first love Thomas. This triggers for Stephane vivid memories of his passionate but secret adolescent affair with Thomas, at a time when homosexuality was kept in the shadows. As Stephane confronts the painful ghosts of the past, Lucas also begins to understand his father's truth in Olivier Peyon's moving and superbly acted adaptation of Philippe Besson's acclaimed novel.
Bernardo Bertolucci does the nearly impossible with this sweeping, grand epic that tells a very personal tale. The story is a dramatic history of Pu Yi, the last of the emperors of China. It follows his life from its elite beginnings in the Forbidden City, where he was crowned at age three and worshipped by half a billion people. He was later forced to abdicate and, unable to fend for himself in the outside world, became a dissolute and exploited shell of a man. He died in obscurity, living as a peasant in the People's Republic. We never really warm up to John Lone in the title role, but The Last Emperor focuses more on visuals than characterisation anyway. Filmed in the Forbidden City, it is spectacularly beautiful, filling the screen with saturated colours and exquisite detail. It won nine Academy Awards, including Best Picture and Best Director. --Rochelle O'Gorman
Wyatt Earp has long fascinated filmmakers. Actors from Burt Lancaster and James Stewart to Kurt Russell and Kevin Costner have played the legendary gunfighter, but no portrayal is more definitive that Henry Fonda's in My Darling Clementine. John Ford's first Western since his seminal Stagecoach, My Darling Clementine ranks among the director's finest. Telling the story of the Gunfight at the O.K. Corral, and the friendship between Earp and Doc Holliday, Ford renders this famous tale into a lyrical masterpiece, filmed in his beloved Monument Valley and full of iconic moments. SPECIAL EDITION CONTENTS: High Definition (1080p) Blu-ray presentation of the 4K digital film restoration Original uncompressed PCM mono 1.0 sound Optional English subtitles for the deaf and hard of hearing Commentary on the theatrical version by author Scott Eyman and Earp's grandson, Wyatt Earp III John Ford and Monument Valley a 2013 documentary on the director's lifelong association with Utah's Monument Valley containing interviews with Peter Cowie (author of John Ford and the American West), John Ford, John Wayne, Henry Fonda, James Stewart and Martin Scorsese Movie Masterclass a 1988 episode of the Channel 4 series, devoted to My Darling Clementine and presented by Lindsay Anderson Lost and Gone Forever a visual essay by Tag Gallagher on the themes that run through My Darling Clementine and the film's relationship with John Ford's other works Stills gallery Theatrical Trailer Reversible sleeve featuring original and newly commissioned artwork by Jay Shaw
When the FBI come knocking on young Paxton s door looking for his parents he suddenly realizes that they have been living a secret life. They are really archaeologists who hunt down artefacts from legends and fantasies and now Paxton must join them. As he will discover legends can be very real and are about to get very dangerous
Nightwatch: Embrace the day. Fear the night. With a centuries old truce beginning to break down the forces of light and darkness come to do battle in modern day Moscow... Based on the first of Sergei Lukyanenko's trilogy of sci-fi horror novels Night Watch is a groundbreaking new phenomenon the highest-grossing Russian film of all time! Daywatch: Like The Matrix Day Watch combines cutting-edge digital effects and mind-blowing action to create a stunningly original world. Only one thing stands between peace and Armageddon: the supernatural agents of Day Watch who fight to control the armies of light and darkness. When the son of a senior Day Watch officer turns to the darkness forces beyond the imagination are unleashed and the fate of the world hangs in the balance!
Trying to explain the cult appeal of John Carpenter's Big Trouble in Little China to the uninitiated is no easy task. The plot in a nutshell follows lorry driver Jack Burton (Kurt Russell) into San Francisco's Chinatown, where he's embroiled in street gang warfare over the mythical/magical intentions of would-be god David Lo Pan. There are wire-fu fight scenes, a floating eyeball and monsters from other dimensions. Quite simply it belongs to a genre of its own. Carpenter was drawing on years of chop-socky Eastern cinema tradition, which, at the time of the film's first release in 1986, was regrettably lost on a general audience. Predictably, it bombed. But now that Jackie Chan and Jet Li have made it big in the West, and Hong Kong cinema has spread its influence across Hollywood, it's much, much easier to enjoy this film's happy-go-lucky cocktail of influences. Russell's cocky anti-hero is easy to cheer on as he "experiences some very unreasonable things" blundering from one fight to another, and lusts after the gorgeously green-eyed Kim Cattrall. The script is peppered with countless memorable lines, too ("It's all in the reflexes"). Originally outlined as a sequel to the equally obscure Adventures of Buckaroo Banzai Across the Eighth Dimension, Big Trouble is a bona fide cult cinema delight. Jack sums up the day's reactions perfectly, "China is here? I don't even know what the Hell that means!". On the DVD: Big Trouble in Little China is released as a special edition two-disc set in its full unedited form. Some real effort has been put into both discs' animated menus, and the film itself is terrific in 2.35:1 and 5.1 (or DTS). The commentary by Carpenter and Russell may not be as fresh as their chat on The Thing, but clearly they both retain an enormous affection for the film. There are eight deleted scenes (some of which are expansions of existing scenes), plus a separate extended ending which was edited out for the right reasons. You'll also find a seven-minute featurette from the time of release, a 13-minute interview with FX guru Richard Edlund, a gallery of 200 photos, 25 pages of production notes and magazine articles from American Cinematographer and Cinefex. Best of all for real entertainment value is a music video with Carpenter and crew (the Coupe de Villes) coping with video FX and 80s hair-dos.--Paul Tonks
It isn't difficult to imagine why this 1988 retelling of the Crucifixion story was picketed so vociferously on its release in the US--this Jesus bears little resemblance to the classical Christ, who was not, upon careful review of the Gospels, ever reported to have had sex with Barbara Hershey. Heavily informed by Gnostic reinterpretations of the Passion, The Last Temptation of Christ (based rather strictly on Nikos Kazantzakis's novel of the same name) is surely worth seeing for the controversy and blasphemous content alone. But the "last temptation" of the title is nothing overtly naughty--rather, it's the seduction of the commonplace; the desire to forgo following a "calling" in exchange for domestic security. Willem Dafoe interprets Jesus as spacey, indecisive and none too charismatic (though maybe that's just Dafoe himself), but his Sermon on the Mount is radiant with visionary fire; a bit less successful is method actor Harvey Keitel, who gives the internally conflicted Judas a noticeable Brooklyn accent, and doesn't bring much imagination to a role that demands a revisionist's approach. Despite director Martin Scorsese's penchant for stupid camera tricks, much of the desert footage is simply breathtaking, even on small screen. Ultimately, Last Temptation is not much more historically illuminating than Monty Python's Life of Brian, but hey, if it's authenticity you're after, try Gibbon's. --Miles Bethany
Bernardo Bertolucci's epic film tells the incredible story of Pu Yi who in 1908 at the age of three became ruler of nearly half of the world's population. He was the ""Son of heaven"" ""Lord of Ten Thousand Years"" and the last emperor of China. His reign was short and three years later a revolution ended three thousand years of imperial rule and a new republic was born. Allowed to remain in his palace and the enclosed walls of the Forbidden City he was unable to venture further than the city gates. Here he would stay for twelve years a prisoner protected from but also ignorant of the outside world. Eventually expelled by a republican warlord Pu Yi began an incredible journey of self discovery that would span a quarter of a century. Winner of nine Oscars The Last Emperor was one of the biggest and most ambitious productions ever undertaken. Director Bernardo Bertolucci and Producer Jeremy Thomas spent two years in negotiations before being granted the unprecedented permission to not only film in China but within the Forbidden City itself. The result was one of the most visually breathtaking and moving epics ever made.
When a kickboxing police inspector is murdered, his kickboxing twin brother infiltrates the Russian mob in order to see justice meted out--as painfully as possible. A slimmed-down Jean-Claude Van Damme is surprisingly effective as the lead(s), but the real star here is gritty Hong Kong director Ringo Lam (probably best known for City on Fire, the film that inspired Quentin Tarantino's Reservoir Dogs), who makes a lethal American debut with this hard-edged, convoluted film, which uses the identical-sibling gimmick to considerably darker effect than the goofball Double Impact. Some incredible stunt work and a terrifically ruthless final reel make this underrated action film a winner, although fans of Species may be somewhat disappointed that costar Natasha Henstridge never fully displays the assets that made her famous. --Andrew Wright
The glowering brutality that is aikido head-banger Steven Seagal's substitute for a star persona at least gives us a rancid taste of authenticity in Marked for Death, a cookie-cutter action picture. This glum lug seems really to enjoy hurting people; he snaps limbs and shatters noses with visible relish. Pitted against a gang of Jamaican gangsters who invade his (white ethnic) Chicago neighbourhood and threaten his family, retired DEA agent John Hatcher sets out to solve the case with robotic efficiency, kicking butt in just about every scene. Not quite as pudgy in this 1990 outing as he became a few films later, Seagal looks like the genuine, lethal article in the fight sequences but like a hopeless amateur when he tries to act his way out of the waterlogged-paper-bag of a script. So what else is new? The one bright spot here is Basil Wallace, a mostly unsung actor who throws himself into the showy role of the Rasta gang-boss Screwface, a garishly scarred psycho with piercing ice-blue eyes. --David Chute, Amazon.com
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...
A Passage to India, David Lean's adaptation of EM Forster's mysterious tale of racism in colonial India, turned out to be the master director's final film. Subtle and grand at the same time, Lean's adaptation is faithful to the book, rendering its blend of the mystical and the all-too human with exquisite precision. Judy Davis plays a young British woman travelling in India with her fiancé's mother. While visiting a tourist attraction, she has a frightening moment in a cave--one that she eventually spins from an instant of mental meltdown into a tale of a physical attack that ruins several lives. Lean captures Forster's sense of awe at the kind of ageless wisdom and inexplicable phenomena to be encountered in India, as well as the British tendency to dismiss it all as savage, rather than simply different. --Marshall Fine
Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalogue of Things that Make Life Worth Living. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more insoluble, terrifying problems about the universe". It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favourite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvellous kind of negative capability".) The film's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me", and "It's very important to have some kind of personal integrity". OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson
From visionary filmmakers James Cameron (AVATAR) and Robert Rodriguez (SIN CITY), comes ALITA: BATTLE ANGEL, an epic adventure of hope and empowerment. When Alita (Rosa Salazar) awakens with no memory of who she is in a future world she does not recognize, she is taken in by Ido (Christoph Waltz), a compassionate doctor who realizes that somewhere in this abandoned cyborg shell is the heart and soul of a young woman with an extraordinary past. As Alita learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield her from her mysterious history while her street-smart new friend Hugo (Keean Johnson) offers instead to help trigger her memories. But it is only when the deadly and corrupt forces that run the city come after Alita that she discovers a clue to her past she has unique fighting abilities that those in power will stop at nothing to control. If she can stay out of their grasp, she could be the key to saving her friends, her family and the world she's grown to love.
Two beautiful women roam the English countryside, luring men to their estate for orgies of sex and blood. But when a group of campers stumble into the vampires' lair, they find themselves sucked into a vortex of savage lust and forbidden desires.
Based on Raymond Khoury’s #1 International best-seller, an ancient decoder has been stolen from a collection of Vatican art. When the daughter of a famed archaeologist discovers its connection to the history of the Knights Templar she enlists the help of a New York detective to find the decoder and the journal before they fall into the wrong hands. Clue by clue, continent by continent, murder by murder, the quest is on to discover a secret that could change the course of history.
A genuinely chilling psychological horror from director Robert Mulligan (To Kill a Mockingbird) The Other provides enough gruesome twists and turns to keep you guessing right up until its shocking finale. Mysterious accidents befall a family on a farm in depression-era Connecticut resulting in the death of a beloved father and a cherished twin brother. But when nine-year-old Holland begins to see – and speak to – his twin the remaining family members can only wait in terrified anticipation for more tragedies to occur... as it slowly dawns on them that the accidents may not be accidental after all. With the same haunting tension as The Exorcist and The Omen Mulligan’s The Other eschews gore in favour of richly detailed psychological horror in its depiction of deeply disturbed children. Beautifully shot by the extraordinary Robert Surges (Ben Hur) and adapted for the screen by Thomas Tryon from his own best-selling novel The Other is an unsettling horror masterpiece.
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