Dani and Christian are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing. From the visionary mind of Ari Aster comes a dread-soaked cinematic fairytale where a world of darkness unfolds in broad daylight.
It's 1964 and the gorgeously reckless Peregrine Fisher is rocketed from a lonely, dissatisfying small-town life, into a career as a fearless investigator. Summoned from her coastal home to claim her mysterious inheritance, a young, wayward Peregrine discovers the world and legacy that her Aunt Phryne left behind. A natural rule-breaker, Peregrine has much in common with the aunt she never met. Earning her place at the Adventuresses Club, she must also prove her worth to D.I. James Steed, a dashingly handsome, by-the-books law man who doesn't appreciate Peregrine's daring habit of bending the rules, as she dives into her first murder investigation. The episodes follow Peregrine's adventures as she goes undercover in the world of high fashion, picks her way through 1960s TV, investigates a top-secret science facility and exposes a maze of corruption that leads all the way back to the Melbourne Police.
The Bombers motorcycle gang headed by the vicious Raven Shaddock kidnap diva Ellen Aim. Her hope for rescue lies with unlikely heroes: soldier of fortune Tom Cody and his sidekick the two-fisted beer-guzzling McCoy. Joined by Ellen's manager Billy Fish the trio plunge headfirst into a world of rain-splattered streets hot cars and deadly assassins.
Even viewers who consider themselves beyond their teen-angst years might find Dawson's Creek compelling. In the first series we are introduced to Dawson (James Van Der Beek) and Joey (Katie Holmes), who for years have watched movies and slept in the same bed; but they find that as they enter high school their relationship will inevitably change. That becomes especially clear when Dawson is immediately attracted to Capeside's sexy new arrival, Jen (Michelle Williams). Meanwhile, their friend Pacey (Joshua Jackson) pursues an unachievable love object. Creator Kevin Williamson based Dawson's Creek on his own youth, and even though the characters may not really look or sound 15 years old, the Dawson-Joey-Jen interplay--especially embodied by the sad-eyed and cynical (but still adorable) Joey and the smart but emotionally inept Dawson--gives the show its heart. And just like Williamson's fresh take on the teen-horror genre, Scream, Dawson's Creek has a winking self-awareness, for example when Dawson says they're having a "90210 moment" or explains that they use big words because they watch too many movies. Highlights of the first series include Dawson's discovery that his perfect home life may not be so perfect, an unwelcome reminder of Jen's past, the Breakfast Club takeoff "Detention", the Scream takeoff "The Scare", a beauty contest in which two unlikely competitors square off, and the heart-rending finale. --David Horiuchi
From the director of The Sixth Sense comes this supernatural thriller starring Bruce Willis as the sole survivor of a deadly train crash, and Samuel L Jackson as the stranger with an extraordinary explaination.
American Indians were "cool" in 1970, the year A Man Called Horse made its vigorous, feverishly real, and occasionally shocking debut alongside Little Big Man and Soldier Blue. Unlike the latter two films, however, Horse is less an allegory for Vietnam-era America and more of a vision quest for historical identity. In one of his defining roles, Richard Harris plays an English aristocrat captured by Dakota Sioux in 1825. Over time, he adopts their way of life and eventually becomes tribal leader--but not before undergoing savage initiation rituals, the most famous of which involves being suspended by blades inserted beneath Harris's pectoral muscles. Horse looks clunky, quaint, and inadvertently demeaning in some respects today, but the film's Native-American milieu is at least defined on its own terms, making no concessions to familiar Western conventions. The real draw is Harris, whose performance has a soulful integrity. --Tom Keogh
Titles Comprise: The Other Guys: Detective Allen Gamble (Will Ferrell) and Detective Terry Hoitz (Mark Wahlberg) are a joke at the police station. Can this down and out duo nerd and hot headed tough guy overcome a plethora of humorous obstacles accidents and misunderstandings to bust the bad guys in a high profile case and gain the respect of their peers? Talladega Nights: From the people who bought you Anchorman and The 40 Year Old Virgin comes this hilarious fast-paced comedy starring Will Ferrell as Ricky Bobby - one of the greatest drivers in NASCAR history. Ricky has everything a racing sensation and national hero could wish for: a luxurious mansion a smokin' hot wife (Leslie Bibb) and a loyal racing partner childhood friend Cal Naughton Jr. (John C. Reilly). But flamboyant French Formula One driver Jean Girard (Sacha Baron Cohen) is about to wreck Ricky's world and challenge for the supremacy of NASCAR. Now Ricky must face his demons and kick some serious asphalt if he's to get his career back on the track beat Girard and reclaim his fame and fortune. 'Cause as Ricky Bobby always says If You Ain't First Your Last!' Step Brothers: In Step Brothers Ferrell plays Brennan Huff a sporadically employed thirty-nine-year-old who lives with his mother Nancy (Mary Steenburgen). Reilly plays Dale Doback a terminally unemployed forty-year-old who lives with his father Robert (Richard Jenkins). When Robert and Nancy marry and move in together Brennan and Dale are forced to live with each other as step brothers. As their narcissism and downright aggressive laziness threaten to tear the family apart these two middle-aged immature overgrown boys will orchestrate an insane elaborate plan to bring their parents back together. To pull it off they must form an unlikely bond that maybe just maybe will finally get them out of the house.
This time, New York cop John McClane (Willis) is the personal target of the mysterious Simon (Jeremy Irons), a terrorist determined to blow up the entire city if he doesn't get what he wants. Accompanied by an unwilling civilian partner (Samuel L. Jackson), McClane careens wildly from one end of New York City to the other as he struggles to keep up with Simon's deadly game.It's a battle of wits between a psychopathic genius and a heroic cop who once again finds himself having a really bad day...
NYPD Detectives Christopher Danson and P.K. Highsmith (Dwayne Johnson and Samuel L. Jackson) are the baddest and most beloved cops in New York City. They don't get tattoos - other men get tattoos of them.
Tom Green, who also wrote and directed this outrageous movie, plays a sad young man from Portland, Oregon, who dreams of becoming an animator. His parents (Rip Torn and Julie Hagerty) send him off to Los Angeles, but he comes back!
Starring Andre Morell (Cash on Demand) and Barbara Shelley (The Camp on Blood Island), The Shadow of the Cat is an atmospheric old dark house tale of feline revenge. When the wealthy Ella Venable (Catherine Lacey) is murdered at the behest of her husband, Walter (Morell), the only witness is her beloved cat, Tabitha. As Ella's niece Beth (Shelley) attempts to uncover the truth, Walter and his accomplices fall foul of a series of cat-related accidents Directed by John Gilling (The Scarlet Blade) and with cinematography by Arthur Grant (The Phantom of the Opera), The Shadow of the Cat is a classic Gothic chiller from Hammer.
When children begin to disappear in the town of Derry, Maine, a group of young kids are faced with their biggest fears when they square off against an evil clown named Pennywise, whose history of murder and violence dates back for centuries. Click Images to Enlarge
The second sequel to the mould-making action film Die Hard brings Detective John McClane (Bruce Willis) to New York City to face a better villain than in Die Hard 2. Played by Jeremy Irons, he's the brother of the Germanic terrorist-thief Alan Rickman played in the original film. But this bad guy has his sights set higher: on the Federal Reserve's cache of gold. As a distraction, he sets McClane running fool's errands all over New York--and eventually, McClane attracts an unintentional partner, a Harlem dry cleaner (Samuel L Jackson) with a chip on his shoulder. Some great action sequences, though they can't obscure the rather large plot holes in the film's final 45 minutes. --Marshall Fine
M Night Shyamalan's breakout third feature, The Sixth Sense sets itself up as a thriller poised on the brink of delivering monstrous scares, but gradually evolves into more of a psychological drama with supernatural undertones. The bare bones of the story are basic enough, but the moody atmosphere created by Shyamalan and cinematographer Tak Fujimoto made this one of the creepiest pictures of 1999, forsaking excessive gore for a sinisterly simple feeling of chilly otherworldliness. Even if you figure out the film's surprise ending, it packs an amazingly emotional wallop when it comes, and will have you racing to watch the movie again with a new perspective. --Mark Englehart M Night Shyamalan reunites with Bruce Willis in Unbreakable for another story of everyday folk baffled by the supernatural (or at least unknown-to-science). This time around, Willis has paranormal, possibly superhuman abilities, and a superbly un-typecast Samuel L Jackson is the investigator who digs into someone else's strange life to prompt startling revelations about his own. Throughout, the film refers to comic-book imagery, while the lectures on artwork and symbolism feed back into the plot. The last act offers a terrific suspense-thriller scene, which (like the similar family-saving at the end of The Sixth Sense) is a self-contained sub-plot that slingshots a twist ending that may have been obvious all along. Some viewers may find the stately solemnity with which Shyamalan approaches a subject usually treated with colourful silliness off-putting, but Unbreakable wins points for not playing safe and proves that both Willis and Jackson, too often cast in lazy blockbusters, have the acting chops to enter the heart of darkness. --Kim Newman After tackling ghosts and superheroes, M Night Shyamalan brings his distinctive, oblique approach to aliens in Signs. With Mel Gibson replacing Bruce Willis as the traditional Shyamalan hero--a family man traumatised by loss--and leaving urban Philadelphia for the Pennsylvania sticks, the film starts with crop circles showing up on the property Gibson shares with his ex-ballplayer brother (Joaquin Phoenix) and his two troubled pre-teen kids. Though the world outside is undergoing a crisis of Independence Day-sized proportions, Shyamalan limits the focus to this family, who retreat into their cellar when "intruders" arrive from lights in the sky and set out to "harvest" them. The tone is less certain than the earlier films--some of the laughs seem unintentional and Gibson's performance isn't quite on a level with Willis's commitment--but Shyamalan still directs the suspense and shock dramas better than anyone else. --Kim Newman
Die Hard Special Features: Featurette Cast Biographies Theatrical Trailer Die Hard 2 Special Features: Die Hard 2 Featurette Cast Biographies Theatrical Trailer Die Hard with a Vengeance Special Features: Audio Commentary Die Hard 4.0 Special Features: Audio Commentary With Bruce Willis Director Len Wiseman and Editor Nicolas De Toth Deleted and Extended Scenes Gag Reel Die Hard by Guyz Nite - Music Video Behind the Scenes with Guys Nite Featurette A Good Day to Die Hard Special Features: Deleted Scenes Theatrical Trailers Decoding Die Hard Special Features: Origins – Reinventing the Action Genre John McClane - Modern Day Hero Villains – Bad to the Bone Sidekicks – Along for the Ride Fight Sequences – Punishing Blows Action – Explosive Effects The Legacy – The Right Hero for the Right Time Trailers
Exceptionally well-directed by John McTiernan, Die Hard made Bruce Willis a star back in 1988 and established a new template for action stories. Here the bad guys, led by the velvet-voiced Alan Rickman, assume control of a Los Angeles high-rise with Willis's visiting New York cop inside. The attraction of the film has as much to do with the sight of a barefoot mortal running around the guts of a modern office tower as it has with the plentiful fight sequences and the bond the hero establishes with an LA beat cop. Bonnie Bedelia plays Willis's wife, Hart Bochner is good as a brash hostage who tries negotiating his way to freedom, Alexander Godunov makes for a believable killer with lethal feet and William Atherton is slimy as a busybody reporter. Director Renny Harlin took the reins for the 1990 sequel, Die Harder, which places Willis's New York City cop in harm's way again with a gaggle of terrorists. This time, Willis awaits his wife's arrival at Dulles Airport in Washington, DC when he gets wind of a plot to blow up the facility. Noisy, overbearing and forgettable, the film has none of the purity of its predecessor's simple story; and it makes a huge miscalculation in allowing a terrible tragedy to occur rather than stretch out the tension. Where Die Hard set new precedents in action movies, Die Hard 2 is just an anything-goes spectacle --Tom Keogh The second sequel, Die Hard with a Vengeance brings Detective John McClane to New York City to face a better villain than in Die Hard 2. Jeremy Irons is the brother of Alan Rickman's Germanic terrorist-thief from the original film. But this bad guy has his sights set higher: on the Federal Reserve's cache of gold. As a distraction, he sets McClane running fool's errands all over New York--and eventually, McClane attracts an unintentional partner, a Harlem dry cleaner (Samuel L Jackson) with a chip on his shoulder. Some great action sequences can't obscure the rather large plot holes in the film's final 45 minutes. --Marshall Fine
Soul Food is the kind of movie that seems to have been blessed throughout its low-budget production and it has got a quality of warmth and charm that fits perfectly with its authentic drama about a large African-American family in Chicago. Twenty-eight-year-old writer-director George Tillman Jr. drew autobiographical inspiration from his upbringing in Milwaukee, and on a well-spent $6.5 million budget he succeeded where similar films (including Waiting to Exhale and How Stella Got Her Groove Back) fell short: he depicts his many characters with such depth and sympathy that, by the time they have weathered several family crises, we've come to care and feel for them and the powerful ties that bind them together. As seen through the eyes of Tillman's young alter ego Ahmad (Brandon Hammond), the film primarily focuses on the rivalries and affections that rise and fall among Ahmad's mother (Vivica A. Fox) and her two sisters (Vanessa L. Williams and Nia Long). Through them, and through the weekly Sunday dinners cooked with love by their mother, Big Mama (Irma P. Hall), we witness marital bliss and distress, infidelity, success, failure ... in short, the spices of life both bitter and sweet. But when Big Mama falls into a diabetic coma, Ahmad watches as his family begins to fall apart without the stability and love that Big Mama provided with every Sunday meal. Tillman's touch can be overly nostalgic, melodramatic and cloyingly sentimental, but never so much that the movie loses its firm grip on reality. As a universal portrait of family life, Soul Food ranks among the very best films of its kind--believable, funny, emotional and always approaching its characters (well-played by a uniformly excellent cast) with a generous spirit of forgiveness and understanding. As satisfying as one of Big Mama's delicious dinners, Soul Food is the kind of movie that keeps you coming back for more. --Jeff Shannon
Beth Cappadora (Michelle Pfeiffer) is at her high school reunion when her three-year-old son disappears from his brother's care. The little boy never turns up, and the family has to deal with the devastating guilt and grief that goes along with it. Nine years later, the family has relocated to Chicago. By a sheer fluke, the kid turns up, living no more than two blocks away. The authorities swoop down and return the kid to his biological parents, but things are far from being that simple. The boy grew up around what he has called his father, while his new family are strangers to him; the older son, now a teenager, has brushes with the law and behavioural problems. His adjustment to his lost brother is complicated by normal teenage churlishness, and the dad (Treat Williams) seems to expect everything to fall into place as though the family had been intact all along. It's a tightrope routine for actors in a story like this, being careful not to chew the scenery while at the same time not being too flaccid or understated. For the most part, the members of the cast deal well with the emotional complexity of their roles. Though the story stretches credulity, weirder things do happen in the real world. The family's pain for the first half of the film is certainly credible, though the second half almost seems like a different movie. Whoopi Goldberg plays the detective assigned to the case; casting her is a bit of a stretch, but she makes it work. All in all, a decent three-hanky movie in the vein of Ordinary People. --Jerry Renshaw, Amazon.com
Paterson is a bus driver in the city of Paterson, New Jersey they share the name. He's also a poet, recording his daily observations and thoughts in the form of beautiful prose. Paterson thrives on routine: he drives his bus route, he goes home for dinner with his wife Laura, he walks his dog, he visits his local bar for one beer. By contrast, Laura's world is ever-changing, with new projects and ideas striking her daily. During the course of one fateful week, Paterson experiences both triumph and disaster, and finds inspiration from the most unlikely source. A sublime new film from Jim Jarmusch (Only Lovers Left Alive), starring Adam Driver (Star Wars: Force Awakens) and Golshifteh Farahani (Rosewater).
All 13 episodes from Season One of the hit US series. What happens when we die? It's a question everyone has asked since the beginning of time. But when Eleanor Shellstrop (Kristen Bell) dies tragically she finds out that the afterlife is amazing; full of frozen yogurt soulmates and wonderful people who have done incredible things with their lives. It is absolutely perfect. The only problem is Eleanor isn't supposed to be in The Good Place. In fact her life decisions wouldn't have even gotten her close. But due to a clerical error, she's been given someone else's reward and now has to struggle with being good in order to make sure her secret isn't discovered. Includes subtitles for the Hard Of Hearing
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