At the age of 51 and after twenty months of unemployment, Thierry (Vincent Lindon) starts a new job in security at a supermarket that soon brings him face to face with a moral dilemma. How much is he willing to accept in order to keep his job is the central question that Measure of a Man (La Loi du Marché) addresses. For his role as Thierry, Vincent Lindon, who was the only professional actor in the film, was awarded the Palme for Best Actor at the 2015 Cannes Film Festival, as well as the Cesar for Best Actor in 2016, the French equivalent of the British BAFTA. - See more at: http://www.newwavefilms.co.uk/view-film-detail.html?viewListing=MTM3#sthash.BY0r2HkH.dpuf
It is with this second series that Angel, the darker Los Angeles mean-streets spin-off from Buffy, comes entirely into its own. Angel, the vampire with a soul and rather too much hair gel, is driven partly by his need for atonement and partly by his anger at the manipulations of the satanic law firm Wolfram and Hart, especially the morally equivocal Lindsey (Christian Kane). At the end of the previous season, they set his emotional destruction in motion by bringing back from hell Darla, the vampire who turned him, whom he loved for centuries and then killed to save Buffy. Julie Benz's soft-voiced passion--"God doesn't want you, but I still do"--makes her a perfect tragic foil for David Boreanaz's "billowy coat King of Pain" hero and mid-season offers further cause for Angel's despairing rage at his failure to save Darla from being turned vampire again. There is a nice balance of comedy, horror and the starkly tragic here--fake swamis, accursed shrouds, sexually abused telekinetic assassins all come into the mix along with Angel's gang of sidekicks--pedantic Wesley, abrasive Gunn, flighty clairvoyant Cordelia--and a new and wonderfully improbable character who starts as a running joke and becomes so much more--the Host (Andy Hallett), a green demon with red horns, eyes and hair, who sees into the souls of those who sing karaoke at his bar. And in a four-part finale, the group's friendship with the green karaoke demon Lorne sends them off to his home dimension to rescue Cordelia, right wrongs and acquire an important new character. On the DVD: Angel, Season 2 on disc presents all the episodes in their original 16x9 widescreen format (2.35:1), which enables viewers to see shots as they were originally conceived, for example in impressive moments like the march of the four vampires through a burning Shanghai or the climaxes of the mediaeval Pylea sequence. The sound is a sumptuous Dolby Surround 2.0. The first Pylea episode, "Over the Rainbow", has a commentary by its director Fred Keller; the 1959 flashback episode "Are You Now or Have You Ever Been?" has a commentary by writer Tim Minnear. There are also featurettes on the set designs--specifically concentrating on the huge hotel set which dominates Season 2. --Roz Kaveney
Sully Halverson (Ethan Hawke) is desperate to give his unborn son the chance he never had. Jasper Sabiano (Seymour Cassel) wants to escape the mobsters that have infiltrated his life and business. Parmie Tarzo (Vincent D'Onofrio) a local mob boss dreams of crushing the competition. All three men live in Staten Island in the long shadow of Manhattan. When their lives and dreams intersect no good will come of it.....
Victor is trying to escape his life as a drug dealer in the South Bronx. Enter Jack a Wall Street investment banker with a business proposal that has Victor's name written all over it.
Episodes Comprise: All Washed Up My Bunny Lives Over the Ocean Did Not! Did Too! Tea and Basketball Down by the Cage Taz You Know It Band Together Oh Where Oh Where Has My Baby Martian Gone? War of the Weirds The Harder They Fall Business as Usual
Jan-Michael Vincent and Ernest Borgnine star in the cult favourite Airwolf - although some might call ""Airwolf"" itself the star. The Emmy Award-winning series followed the dangerous missions of the high-tech helicopter Airwolf and it's renegade pilot Stringfellow Hawke. Episodes Comprise: 1. Sweet Britches 2. Firestorm 3. Moffet's Ghost 4. The Truth About Holly 5. The Hunted 6. Sins Of The Past 7. Fallen Angel 8. HX-1 9. Flihgt #093 IS Missing 10. Once A Hero 11. Random Target 12. Condemned 13. The American Dream 14. Inn At The End Of The Road 15. Santini's Millions 16. Prisoner Of Yesterday 17. Natural Born 18. Out Of The Sky 19. Dambreakers 20. Severance Day 21. Eruption 22. Short Walk To Freedom
Take a peak under the surface of any gay man, and who knows what you ll find? CONFESSIONS, an anthology of disclosures from the recesses of the gay male psyche, goes some way to answer that very question. Spanning themes that are dark, sexy, intense, funny, romantic and shocking, CONFESSIONS turns a spotlight on characters you don t often get to see- but will not want to turn away from.
MICROBE ET GASOIL Daniel (aka Microbe) is a shy boy, often lost in his drawings. Théo (aka Gasoline) is a smart, inventive kid, who arrives at school in the middle of the year. The two instantly become great friends, and as the summer holidays draw closer, they both know that neither wants to spend two months with their respective families. Thanks to a lawnmower engine and a few planks, they build their own car and set off for an adventure on the roads of France...
Prodigious talent Xavier Dolan comes of age with his dazzling sixth film, It's Only the End of the World, based on the play of the same name by Jean-Luc Lagarce and featuring an all-star cast of top French actors. After 12 years of estrangement a writer (Gaspard Ulliel) returns to his hometown, planning on announcing his impending death to his family. However, his mother (Nathalie Baye), tempestuous siblings (Vincent Cassel and Léa Seydoux) and beleaguered sister-in-law (Marion Cotillard) have their own personal grievances to air. As buried resentments threaten to surface and fits and feuds begin to unfold, all attempts at empathy are sabotaged by the family's inability to listen and love. Winner of the Grand Prix at Cannes 2016, It's Only the End of the World is a bold and stylistically daring melodrama performed with thunderous emotion. Taut, tense and packed with explosive performances shot in claustrophobic close-up, it further confirms Dolan as one of the most singular talents in world cinema.
A city journalist and the daughter of a maintenance man help expose political corruption in New York City.
The second of Francis Ford Coppola's films based on the popular juvenile novels of S.E. Hinton (the first being The Outsiders), Rumble Fish split critics into opposite camps: those who admired the film for its heavily stylised indulgence, and those who hated it for the very same reason. Whatever the response, it's clearly the work of a maverick director who isn't afraid to push the limits of his innovative talent. Filmed almost entirely in black and white with an occasional dash of color for symbolic effect, this tale of alienated youth centers on gang leader Rusty James (Matt Dillon) and his band of punk pals. Rusty's got a girlfriend (Diane Lane), an older brother named Motorcycle Boy (Mickey Rourke), and a drunken father (Dennis Hopper) who've all given up trying to straighten him out. He's best at making trouble, and he pursues that skill with an enthusiastic flair that eventually catches up with him. But it's not the whacked-out story here that matters--it's the uninhibited verve of Coppola's visual approach, which includes everything from time-lapse clouds to the kind of smoky streets and alleyways that could only exist in the movies. The supporting cast includes a host of fresh faces who went on to thriving careers, including Nicolas Cage, Christopher Penn, Vincent Spano, Laurence Fishburne, and musician Tom Waits. --Jeff Shannon
In Casper's Haunted Christmas, a direct-to-video animated film, the haunted world of spooks meets the happy spirit of Christmas--a faulty premise to begin with. The plot gets even more absurd when Kibosh, supreme ruler of all ghosts, declares that Casper's "scare quota" is way down. To avoid serious repercussions, Casper must scare at least one person before Christmas Day, or he will be banished to the dark side. Talk about a merry holiday tale! To force the fear factor, Kibosh catapults Casper and the Ghostly Trio to Chrismassachusetts, where they must find an unsuspecting victim to scare. Kindhearted Casper doesn't have the nerve to scare anyone, so the Ghostly Trio secretly hires Casper's loo k-alike cousin, Spooky, to do the job. There's no doubt the wide-eyed little ghost is endearing, but his heyday may have ended with his series in Harvey Comics. There are some redeeming moments of humour, such as when Spooky mistakenly calls himself "Casper, the Frenzied Ghost", and country singer Randy Travis does his best to add his musical charms to the score, but overall, Scrooge would be more welcome under the mistletoe than these bunch of ghouls. Teens may discover a few laughs (if the video can keep their attention), but mildly scary scenes, thematic elements and irreverent language suggest parental guidance for the younger set. (Ages 5 and older.) --Lynn Gibson, Amazon.com
Coming-of-age themes are an obvious choice for movie-makers but All Over Me is far from being run of the mill. It follows the friendship and codependence of two 15-year-old New York girls, one (Claude) gradually coming to terms with the fact that she's gay, the other (Ellen), getting sucked into a world of boys, violence and drugs. It brilliantly and sympathetically realised by film-maker sisters Alex and Sylvia Sichel, with superb performances by the two leads, Alison Folland and Tara Subkoff. When the violent, homophobic murder of the girls' new-found friend, Jesse (Wilson Cruz) threatens to rip them apart, Ellen embarks on a trail of self-destruction while Claude finally seems able to come to terms with her own destiny, ultimately getting together with the pretty, magenta-haired punk musician, Lucy (a superbly empathetic performance from Leisha Hailey). It's a film that's saved from introspective self-indulgence by the brutal interruption of the outside world, and it's not just a thought-provoking hour-and-a-half, it's a compelling narrative experience. The only weakness is the two-dimensional characterization of Ellen's psychotic boyfriend, well enough played by Cole Hauser, but intrinsically limited in scope. Ann Dowd is superb as Claude's man-chasing mother and the film is topped off by a funky soundtrack. On the DVD: All over Me doesn't just offer the "usual theatrical trailer" for the film in question but instead offers trailers for two related films, Better than Chocolate and Trick, both of which deal truthfully with gay issues offering a light and often humorous touch. However, that's it as far as additional goodies are concerned, which is a shame, but the vibrant soundtrack is presented in a great Dolby Digital sound. --Harriet Smith
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
Akira Kurosawa's rousing Seven Samurai was a natural for an American remake--after all, the codes and conventions of ancient Japan and the Wild West (at least the mythical movie West) are not so very far apart. Thus The Magnificent Seven effortlessly turns samurai into cowboys (the same trick worked more than once: Kurosawa's Yojimbo became Sergio Leone's A Fistful of Dollars). The beleaguered denizens of a Mexican village, weary of attacks by banditos, hire seven gunslingers to repel the invaders once and for all. The gunmen are cool and capable, with most of the actors playing them just on the cusp of '60s stardom: Steve McQueen, James Coburn, Charles Bronson, Robert Vaughn. The man who brings these warriors together is Yul Brynner, the baddest bald man in the West. There's nothing especially stylish about the approach of veteran director John Sturges (The Great Escape), but the storytelling is clear and strong, and the charisma of the young guns fairly flies off the screen. If that isn't enough to awaken the 12-year-old kid inside anyone, the unforgettable Elmer Bernstein music will do it: bum-bum-ba-bum, bum-ba-bum-ba-bum... Followed by three inferior sequels, Return of the Seven, Guns of the Magnificent Seven, and The Magnificent Seven Ride! --Robert Horton
One of the all-time great wartime love stories shot on location in Malaya.
Mickey Skinner (Leo Gregory Cass) is a small time crook with little success and a lot of debts. While out on yet another doomed petty crime he makes a last minute escape in a stolen car. The only problem is that Don Barber (Vincent Regan 300) psychopathic head of the London underworld is stuffed inside the boot. Ratted out by one of his closest friends and now facing arrest Barber does the unthinkable and gives Mickey the keys to his empire for 24 hours. With the cards stacked against him Skinner embarks on the mammoth task of filling Barber's shoes... Has he got it in him to give it THE BIG I AM?
There can be few better ways reminding oneself of the key elements in late 1990s left-of-centre Hollywood than watching Feeling Minnesota. The film attempts to draw together most of the main themes from the post-Pulp Fiction world into one whole. The story--young lovers Freddie and Jjacks (sic) on the run from a criminal past--is pure True Romance, with an attempt to throw in a little Cohen brothers' style weirdness. It's not a bad film--how can any film that opens with a Johnny Cash tune not have some degree of style to it?--just one that misses that certain spark. The casting of Diaz and Reeves is hopelessly mismatched, the former's delightfully light touch during the film's many funny moments merely serving to heighten Reeves' clod hopping. He is slightly better when playing opposite brother and husband to Freddie Sam (Vincent D'Onofrio), but is unavoidably the film's weak link. It can't be denied that by pushing all the relevant buttons, Feeling Minnesota manages to provide a couple of hours of reasonably engrossing entertainment but, like the Bob Dylan version of "Ring of Fire" that closes the film, the originals are still the best. On the DVD: The de rigeur credible rock soundtrack is given extra sparkle by the DVD's audio quality, but the extras available are slight. The "making-of" featurette offers little more than one of those infuriating extended adverts that are passed off as film documentaries, while the cast interview section is presented in a series of a few second answers to a succession of uninspiring questions. --Phil Udell
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