The early 1980s experienced a wave of technology fever, and it seemed like every machine wanted to be bionic. There was K.I.T.T. the car, Street Hawk the motorbike, Airwolf the helicopter, and Blue Thunder--which looked like the Mechano version of Airwolf. In what seems a moment of Austin Powers humour, it's explained that this super chopper cost "five million dollars"! Its supposed reason for being is aerial crowd control, but as Murphy (Roy Scheider) discovers--when not suffering 'Nam flashbacks--there's a government plot to silence a Senator who's disgruntled with urban pacification standards. Director John Badham obviously loved fiddling about with technology--he directed Wargames after all--and here there are lingering shots of buttons and switches, multiple takes of turns in the air, and any excuse used for a bit of primitive computer imagery. The secondary characters quickly begin to seem like wallpaper: Daniel Stern's spunky co-pilot has but one plot device to execute, and Malcolm McDowell plays the same tired old Brit baddie he's played for years. Ultimately it's the protracted aerial battle finale (which played havoc with LA air traffic control) that stays with you. Oh, and a gratuitous cameo from a nude contortionist! On the DVD: There are no special features here, except a trailer and filmographies. --Paul Tonks
Green Street (Dir. Lexi Alexander 2005): Stand your ground. Expelled unfairly from Harvard Matt Buckner (Elijah Wood) flees to England to his sister (Claire Forlani). Once there he is befriended by her charming and dangerous brother-in-law Pete Dunham (Charlie Hunnam) and introduced to the underworld of British football hooliganism. Matt learns to stand his ground through a friendship that develops against the backdrop of his street and often violent world. Green Street is a story of loyalty trust and the sometimes brutal consequences of living close to the edge. I.D. (Dir. Philip Davis 1995): When you go undercover remember one thing: who you are. In an effort to halt the escalating violence of fanatical football supporters four young policemen are sent undercover. One of these John (Reece Dinsdale) soon finds his own personality changing and feels a sense of belonging he never felt on the force...
An earthquake is about to hit L.A. It's called Detective Rita Rizoli. Some cops have buttons you really shouldn't push! Academy Award winner Whoopi Goldberg stars as a hard-as-nails wise-crackin' undercover cop who wages a blistering personal war against a ruthless Los Angeles drug ring in this action-packed shoot-'em-up action comedy. A lethal drug called 'Fatal Beauty' has hit the mean streets of Los Angeles - and Rita Rizzoli (Goldberg) the city's toughest undercover co
Influenced by the French New Wave, director Arthur Penn's ground-breaking and wildly inventive Mickey One is a tale of a man on the run - his first teaming with Warren Beatty, two years before Bonnie and Clyde. The film also boasts a classic jazz score by Eddie Sauter and Stan Getz. Extras: High Definition remaster Original mono audio Alexandra Stewart on 'Mickey One' (2017, 19 mins): a new interview with the celebrated actress Matthew Penn on 'Mickey One' (2017, 20 mins): a new interview with the son of director Arthur Penn The Guardian Lecture with Arthur Penn (1981, 59 mins): archival audio recording of an interview conducted by Richard Combs at the National Film Theatre, London Original theatrical trailer Joe Dante trailer commentary (2013, 3 mins): a short critical appreciation Image gallery: on-set and promotional photography New English subtitles for the deaf and hard-of-hearing
The story of a man who wanted to keep the world safe for democracy...and meet girls. When John Winger (Bill Murray) loses his job his car his apartment and his girlfriend all in one day he decides he only has one option: volunteer for Uncle Sam. John convinces Russell to join the army so they can get in shape likening it to a health spa. Once in boot camp wiseguy John tangles with his by-the-book Sgt. and becomes the unofficial leader for his platoon made up mostly of other misfits and assorted losers. After somehow making it through graduation they are given a special assignment but thanks to John's romantic interest in a pretty MPO the other men wind up behind the Iron Curtain until John Russell their dates and Sgt. Hulka make a daring rescue attempt in explosive style
The controversy that surrounded Stanley Kubrick's adaptation of Anthony Burgess's dystopian novel A Clockwork Orange while the film was out of circulation suggested that it was like Romper Stomper: a glamorisation of the violent, virile lifestyle of its teenage protagonist, with a hypocritical gloss of condemnation to mask delight in rape and ultra-violence. Actually, it is as fable-like and abstract as The Pilgrim's Progress, with characters deliberately played as goonish sitcom creations. The anarchic rampage of Alex (Malcolm McDowell), a bowler-hatted juvenile delinquent of the future, is all over at the end of the first act. Apprehended by equally brutal authorities, he changes from defiant thug to cringing bootlicker, volunteering for a behaviourist experiment that removes his capacity to do evil.It's all stylised: from Burgess' invented pidgin Russian (snarled unforgettably by McDowell) to 2001-style slow tracks through sculpturally perfect sets (as with many Kubrick movies, the story could be told through decor alone) and exaggerated, grotesque performances on a par with those of Dr Strangelove (especially from Patrick Magee and Aubrey Morris). Made in 1971, based on a novel from 1962, A Clockwork Orange resonates across the years. Its future is now quaint, with Magee pecking out "subversive literature" on a giant IBM typewriter and "lovely, lovely Ludwig Van" on mini-cassette tapes. However, the world of "Municipal Flat Block 18A, Linear North" is very much with us: a housing estate where classical murals are obscenely vandalised, passers-by are rare and yobs loll about with nothing better to do than hurt people. On the DVD: The extras are skimpy, with just an impressionist trailer in the style of the film used to brainwash Alex and a list of awards for which Clockwork Orange was nominated and awarded. The box promises soundtracks in English, French and Italian and subtitles in ten languages, but the disc just has two English soundtracks (mono and Dolby Surround 5.1) and two sets of English subtitles. The terrific-looking "digitally restored and remastered" print is letterboxed at 1.66:1 and on a widescreen TV plays best at 14:9. The film looks as good as it ever has, with rich stable colours (especially and appropriately the orangey-red of the credits and the blood) and a clarity that highlights previously unnoticed details such as Alex's gouged eyeball cufflinks and enables you to read the newspaper articles which flash by. The 5.1 soundtrack option is amazingly rich, benefiting the nuances of performance as much as the classical/electronic music score and the subtly unsettling sound effects. --Kim Newman
Follow the story of Deanie and Bud a young couple whose small Kansas town disapproves of their relationship. After Bud finds another girl Deanie is driven to madness. Set against 1920's America and the crash of 1929 this touching story teaches the harsh lessons of love.
In Gone to the Dogs Alison Steadman, Warren Clarke, Jim Broadbent, Sheila Hancock, Martin Clunes and in his TV drama debut Harry Enfield star in this six-part comedy drama set in the lucrative world of greyhound racing.Self-made millionaire Larry Patterson is powerful and charismatic, with the best dogs in the greyhound racing world. Jim Morley is one of life's losers, always 'just one business away' from making his fortune; his only link to the world of greyhound racing is a three-legged dog called Highland Fling. On the financial scale, they're as far removed as it's possible to be. But they have one thing in common: they both love the same woman... Gone to Seed re-unites the principal cast in entirely new roles: Alison Steadman, Jim Broadbent and Warren Clarke are Hilda, Monty and Winston Plant triplets who are anything but identical with Sheila Hancock as domineering matriarch Mag; comedy legend Peter Cook stars as Mag's old flame, conman Welsey Willis. An-thony Newley, Ron Davies and Stephen Marcus guest-star. The Plant family has run a garden centre in Rotherhithe since Dickens' time, surviving both war and redevel-opment. But now, family rivalry threatens to poison their unlikely paradise. The frumpy Hilda has only one pas-sion in life: Milwall FC. Country and Western singer Monty dreams of turning the run-down nursery into a floral oasis in the heart of Docklands and jobless builder and part-time wrestler Winston doesn't know a begonia from a buttercup!
With the melancholy open-road epic Two-Lane Blacktop, American auteur Monte Hellman (The Shooting, Cockfighter, and the recent Road to Nowhere) poeticised the beautiful, terrible rootlessness of his nation in the era of Vietnam. Funded by Universal in a bid to recreate the success of Easy Rider – by giving a number of filmmakers $1m and final cut – Hellman's effort is now regarded as one of the key films of the New Hollywood renaissance of the early 1970s.While driving eastward on Route 66, two rival car owners – The Driver (singer-songwriter James Taylor) and The Mechanic (Dennis Wilson of The Beach Boys) in a souped-up, drag-racing '55 Chevy, and a middle-aged braggart (Warren Oates) in a gleaming GTO – begin to race for each other's pink slips and the affections of the listless female hitchhiker (Laurie Bird) who joins them on the road.Scripted by esteemed novelist Rudy Wurlitzer, and featuring the only screen performances of Taylor and Wilson, Two-Lane Blacktop remains a timeless, existential portrait of lives in transit and of a country questioning its identity. Special Director-Approved Blu-Ray Features: New restored high-definition master, supervised and approved by Monte Hellman Original mono soundtrack and optional newly remastered 5.1 mix Optional English subtitles for the deaf and hearing-impaired Audio commentary by Monte Hellman and associate producer Gary Kurtz On The Road Again: Two-Lane Blacktop Revisited, a 43-minute video piece in which Monte Hellman revisits the film's locations Somewhere Near Salinas, a 28-minute interview by Monte Hellman with singer-songwriter Kris Kristofferson Sure Did Talk To You, a 24-minute video piece by Monte Hellman, interviewing producer Michael Laughlin, production manager Walter Coblenz, and the director's son Jared Hellman Rare archival screen-test footage of James Taylor and Laurie Bird Original theatrical trailer Optional music and effects track A lavish 36-page booklet featuring rare production imagery, the words of Monte Hellman, and more!
Happy Tree Friends
Accused of murders she did not commit a woman fights desperately to prove her innocence and hold her family together in this gripping true story of passion and betrayal. Joyce Lukesic seems to have it all: luxurious lifestyle loving husband terrific children. But a triple mafia-style murder brings this secure world of privilege to an abrupt end as an ambitious state investigator links Joyce to the crimess. Despite her pleas of innocence she is brought to trial. Her dream life now a living nightmare Joyce finds herself incarcerated alongside hardened criminals - and unable to trust even those closest to her. Somehow she must find the inner strength to survive the ordeal take on a hostile justice system and reunite her shattered family. Based on a true story...
The classic 1960s and early 70s comedy series Til Death Us Do Part had established Warren Mitchell's bigoted big-mouth Alf Garnett as one of the most unforgettable figures of British television. Too good a character to leave to posterity his creator Johnny Speight brought him back - as opinionated loud-mouthed bad tempered reactionary prudish homophobic and hilarious as ever... This 1985 sequel found Alf and Else relocated to a flat in the East End but the curmudgeonly old git still had plenty to moan about: his pension the unions having to push his wheelchair bound wife around and horror upon horror their black and gay council home help Winston.
When a Montana boy moves to Florida and unearths a disturbing threat to a local population of endangered owls three middle-schoolers take on greedy land developers corrupt politicians and clueless cops. Determined to protect his new environment the boy and his friends fight to prevent the adults from making a big mistake. Based on Carl Hiaasen's Newbery Honor-winning book.
Mega Shark Of The Malibu
True Justice
Jay Bulworth is your typical senator going through a nervous breakdown. The empty speeches, lies, money and pressure have led him to plan his own assassination on a weekend trip home to California just before the election. However, a cord snaps in him and like Jim Carrey's rambling lawyer in Liar, Liar, Bulworth can only tell the truth. This new freedom turns Bulworth on and he spews the ugly truth about politics: he tells mass media they are as corrupt as insurance companies; lambastes a black church for not having leaders; and riles the Jewish power elite of Hollywood. He enters South Central running away from advisors (including a bemused Oliver Platt) and mixing it up with a potential new girlfriend (Halle Berry) and a local boss (Don Cheadle). He offends across the board, even developing an inherent knack to rap his speeches. And the public loves it. The weekend becomes a clarifying point for Bulworth: he finds a reason to live.Beatty's rude and relevant comedy is a one-joke movie but the joke is pretty good. It's a courageous film that is always sharp even though it loses narrative focus. Beatty's hilarious raps are so inspired they deserve repeated viewings. As usual, Beatty surrounds himself with a great crew, Ennio Morricone's music and Vittorio Storaro's cinematography being especially noteworthy. Beatty and Storaro even have the audacity to imitate two very famous photographs in the film's final seconds. The script by Beatty and Jeremy Pikser won the LA Film Critics award and was nominated for an Oscar. --Doug Thomas
The early 1900's with its Mann-Act (disallowing women to be transported across State lines for immoral reasons) brings a married man to devise a scheme for taking his upper-class girlfriend away with him... he simply has her marry his unmarried buddy. However, it doesn't take very long before both men start laying claim to her affection... until, that is, she's about to be cut out of her parent's fortune. So, a new scheme is devised, which only adds to their problems...
A pre-code film that sneaked onto screens just as the censorious Hays Office began cracking down on Hollywood's racier propositions, Cleopatra is a libertine paean to decadence and depravity that can still send a viewer's mind reeling and pulse thumping – all courtesy of the Golden Age's swampiest psychosexual auteur, Cecil B. DeMille (The Ten Commandments; The Greatest Show on Earth; The King of Kings). Claudette Colbert (It Happened One Night; The Palm Beach Story; Drums Along the Mohawk) presides over the most outrageous spectacle this side of The Scarlet Empress as the eponymous pharaoh queen who speeds from Julius Caesar (Warren William) to Marc Antony (Henry Wilcoxon), from Egypt to Rome, from war-room to bedroom… The whiff of incense permeates every scene, with each connected to the next in a veritable matrix of whips, blindfolds, and bindings – the crazed arrangement laying bare all the fetish inklings of the moving-picture dream.
Gone Too Far is a breezy witty culture-clash comedy adapted from Bola Agbaje's Olivier award-winning play. Peckham teen Yemi (Malachi Kirby) works hard to fit in but his street cred evaporates with the arrival from Nigeria of his long-lost brother Ikudayisi (O.C. Ukeje). The siblings barely know one another and Yemi is less than impressed by his brother's African heritage and uncool fashions. When the pair are forced to spend the day together on their Peckham estate Yemi is forced to confront local bullies the unattainable girl of his dreams and his own African heritage eventually teaching them the values of family and self-respect. Directed by Destiny Ekaragha this is her feature directorial debut.
The final film by the great, yet underrated Robert Rossen (All the King's Men, The Hustler) is a compelling tale of love, madness, and forbidden desire. Warren Beatty (Mickey One, The Fortune) stars as a young war veteran who takes a job as on orderly in a local asylum and falls under the spell of beautiful schizophrenic, Lilith (Jean Seberg A Bout de souffle, Bonjour Tristesse). Boasting a superb supporting cast that includes Peter Fonda, Jessica Walter, Gene Hackman and Kim Hunter, Rossen's delicate and powerful film is one of the most under-appreciated American films of the 1960s. Extras High Definition remaster Original mono audio The Guardian Interview with Warren Beatty (1990, 87 mins): archival audio recording of a career-spanning interview with the celebrated actor and director, hosted by Christopher Cook and conducted at London's National Film Theatre The Suffering Screen (2019, 25 mins): a visual essay by journalist and author Amy Simmons which explores cinema's enduring fascination with narratives and representations of female madness The Many Faces of Jean Seberg (2019, 8 mins): critic and film historian Pamela Hutchinson explores the life and career of the famed actor Original theatrical trailer Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing
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