It's always a small surprise to revisit this movie and realise what a subtly dark performance James Stewart gives as an alcoholic who claims he keeps company with a six-foot-tall, invisible rabbit. As Elwood P. Dowd, the actor emits a faint whiff of decay and spirits, yet Stewart also embraces Dowd's romanticism and grace with splendid ease. Based on a hit play and directed by Henry Koster, the film is terribly funny at times, especially whenever Elwood decides it is only polite to introduce Harvey to complete strangers. The supporting cast can't be beat. --Tom Keogh
A fairy tale grounded in poignant reality, Terry Gilliam's magnificent, Manhattan-set The Fisher King features Jeff Bridges and Robin Williams in two of their most brilliant roles. Bridges plays a former radio shock jock reconstructing his life after a scandal, and Williams a homeless man on a quest for the Holy Grailwhich he believes to be hidden somewhere on the Upper East Side. Unknowingly linked by their pasts, the two men aid each other on a fanciful journey toward their own humanity. This singular American odyssey features a witty script by Richard LaGravenese, evocative cinematography by Roger Pratt, and superb supporting performances by Amanda Plummer and an Oscar-winning Mercedes Ruehl, all harnessed by Gilliam into a compassionate, funny modern-day myth.
Almost universally derided on its first release as the worst of the Star Trek movies to date, The Final Frontier may just have been the victim of bad press. Following in the wake of the massively successful fourth instalment The Voyage Home didn't help matters (notoriously, even-numbered entries are better), nor did having novice director and shameless egomaniac William Shatner at the helm. But if the story, conceived and co-written by Shatner, teeters dangerously on the verge of being corny at times, it redeems itself with enough thought-provoking scenes in the best tradition of the series, and a surprisingly original finale. Granted there are a few too many yawning plot holes along the way, and the general tone is over-earnest (despite some painfully slapstick comedy moments), but the interaction of the central trio (Kirk, Spock and McCoy) is often funny and genuinely insightful; while Laurence Luckinbill is a charismatic adversary as the renegade Vulcan Sybok. True, the rest of the cast scarcely get a look in, and the special effects betray serious budgetary restrictions, but with a standout score from Jerry Goldsmith and a meaty philosophical premise to play around with, Star Trek V looks a lot more substantial in retrospect. Certainly it's no worse than either Generations or Insurrection, the next "odd-numbered" entries in the series. On the DVD: This is a non-anamorphic widescreen (2.35:1) print, with only two trailers as extra features. Quite frankly, Star Trek fans are being short-changed. --Mark Walker
Based on Peter Barnes' hit play this caustic hilarious and irreverent black comedy has rightly become a cult classic. The House of Gurney has a family problem - namely the 14th Earl of Gurney (Peter O' Toole) who thinks he is Jesus Christ and when restored to `normalcy' turns into Jack the Ripper. Unfortunately the young earl is also the sole heir to the family fortune so his relatives go to great lengths to trick him into siring a new heir. Then they can institutionalise him and
Arthurian mythology and modern-day decay seem perfect complements to each other in Terry Gilliam's drama/comedy/fantasy The Fisher King. Shock jock Jack Lucas (Jeff Bridges) makes an off-handed radio remark that causes a man to go on a killing spree, leaving Lucas unhinged with guilt. His later, chance meeting with Parry (Robin Williams), a homeless man suffering from dementia, gets him involved in the unlikely quest for the Holy Grail. The rickety and patently unrealistic stand that insanity is just a wonderful place to be and that the homeless are all errant knights wears awfully thin, but, there are numerous moments of sad grace and violent beauty in this film. The screenplay by Richard LaGravenese launched his successful career and his smart wordplay helped garner Mercedes Ruehl an Oscar as Lucas' girlfriend. --Keith Simanton
A celebration of Britain's most famous and enduring television programme Coronation Street features 80 landmark episodes 8 from each year of the decade from the 1970s in a 10-disc box set. With 8 outstanding episodes from each year this box set represents the very best of 'Coronation Street' in the decade that established it as a staple part of British TV culture. With many episodes unseen since their original broadcast the release is an opportunity to revisit old friends and
It Came from Beneath the Sea appeared two years after Ray Harryhausen unleashed The Beast from 20,000 Fathoms upon New York City. This time the master special-effects creator turned loose a giant (albeit six-armed) octopus on San Francisco, and the result is another enjoyable atom-age adventure that should please fans of vintage science fiction. Kenneth Tobey, who battled The Thing (From Another World) in 1951, stars as a Navy captain pursuing a monstrous octopoid (sextapoid?) after it attacks his atomic sub. After it wreaks havoc with shipping lanes, he tracks the creature to San Francisco for a final showdown. Scripting by George Worthing Yates (Them) and Hal Smith and direction by Robert Gordon are perfunctory at best, which gives the always-reliable Tobey and costar Faith Domergue little to do, but this is Harryhausen's show, and his monster, though the budget was restrained, is still impressive. Younger audiences weaned on digital FX may find this creaky, but nostalgic viewers will enjoy its simple thrills. --Paul Gaita
Welcome to Death Row tells the unauthorised history of the most notorious rap label ever. And what a story it is, with enough blood and betrayal to satiate the Borgias and machinations that would make Machiavelli proud. The rise and fall of Death Row and its power-hungry CEO, Marion "Suge" Knight, makes The Godfather look like a bedtime story. The film centres on the testimony of Michael Harris--also known as "Harry O", as in octopus, because he had his business fingers in so many pies--who provided Suge Knight with the seed money to set up Death Row, and assigned his lawyer David Kenner to oversee the label's business affairs. The film traces the entire controversial history of the label, which at its height was turning over $500 million a year, and the impact it had on not only the music industry but American culture. "It was like working in a prison", says Doug Young, the label's record promoter, of Suge Knight's predilection for hiring gangsters and ex-felons. The film also details the relationship between Death Row and its biggest star, Tupac Shakur, and the effect that Shakur's sudden death in a Las Vegas drive-by shooting had on the label's fortunes (a story told in greater depth in Savidge's film Thug Immortal).Although none of the major players in this drama are represented on tape--Dr Dre and Interscope Records heads Jimmy Iovine and Ted Fields are as conspicuous by their absence as lawyer David Kenner and Suge Knight, the villains of the piece--the producers have unearthed an alarming number of believable behind-the-scenes sources including record promoters, managers, private investigators and former associates and employees of the label. Director Savidge wisely uses talking heads to tell his story, weaving into it a wealth of archive material and previously unseen home-video footage. The epic narrative is split into discrete chapters but, with so much information and opinion flying about, at times the chronology of events becomes confused. Yet this does little to spoil a documentary that goes a long way to revealing the intimate connection between the music industry and organised crime, and the desire for power and glory that drives them both.On the DVD: As if there wasn't enough information to digest in the documentary (which is presented in a clean 1:85.1 anamorphic format), the extra features on the DVD provide even more supplementary evidence. There are outtakes from the interviews used in the main feature, as well as additional interview footage of Snoop Dogg and Harry O. There is uncensored security camera footage of a fight in the lobby of the MGM Grand involving the Death Row entourage that preceded the death of Tupac Shakur by minutes, a music video for "Deep Cover" (the song that launched Snoop Dogg) and a fascinating audio commentary by director Savidge and producers Jeff Scheftel and Stephen A Housden, in which they relate the difficulties encountered in obtaining the trust of those they interviewed and the factors they took into consideration when constructing the film. Savidge recalls that the model they had in mind was the fractured, multi-perspective narrative of Kurosawa's Rashomon. --Chris Campion
Almost universally derided on its first release as the worst of the Star Trek movies to date, The Final Frontier might just have been the victim of bad press. Following in the wake of the massively successful fourth instalment The Voyage Home didn't help matters (notoriously, even-numbered entries are better), nor did having novice director and shameless egomaniac William Shatner at the helm. But if the story, conceived and cowritten by Shatner, teeters dangerously on the verge of being corny, it redeems itself with enough thought-provoking scenes in the best tradition of the series, and a surprisingly original finale. Granted there are a few too many yawning plot holes along the way, and the general tone is over-earnest (despite some painfully slapstick comedy moments), but the interaction of the central trio (Kirk, Spock and McCoy) is often funny and genuinely insightful; while Laurence Luckinbill is a charismatic adversary as the renegade Vulcan Sybok. The rest of the cast scarcely get a look in, and the special effects betray serious budgetary restrictions, but with a standout score from Jerry Goldsmith and a meaty philosophical premise to play around with, Star Trek V looks a lot more substantial in retrospect. Certainly it's no worse than either Generations or Insurrection, the next "odd-numbered" entries in the series. --Mark Walker
Drifting along on a prayer and a song. Legendary crooner Bing Crosby sings and dances his way though this charming and delightful story of a wanderer who drifts into the lives and hearts of the residents of the small town of Middletown New Jersey. Featuring music and lyrics by Johnny Burke and Arthur Johnston including the classics ""So Do I "" ""Pennies From Heaven"" (Academy Award nominee for Best Music/Song) ""Skeleton In the Closet"" and ""Lets Call A Heart A Heart.""
In 1815 monk Tomas Alcala unwittingly unleashes two female succubi Munkar and Nakir upon an unsuspecting 21st century. He is chosen by God to travel through the centuries and stop the demons' rampage...
Something To Sing About: Cagney is at his best as a Manhattan bandleader who journeys to Hollywood when he is offered a contract with a studio but he is determined to do things his way and not theirs. A classic 1930's musical about Hollywood studio life that won an Oscar for best score. Basin Street Revue: Musical variety filmed at the Apollo Theatre in Harlem New York City. This is a collection of exciting R&B performances from the early-mid 1950's including Cab Ca
Grab a good seat and don't look away from the stage for The Great Vorelli (Bryant Haliday) is about to dazzle London with his eerie mixture of hypnotism and ventriloquism. However there may be something a little too lifelike about his dummy Hugo who has the ability to walk across the stage all by himself. Experience the haunting imagery and unforgettable twist ending of Devil Doll the cult horror classic from producer Richard Gordon which has chilled audiences for decades. Hailed as tense and terrifying this gem of psychological suspense and supernatural thrills can now be enjoyed in a dazzling new transfer--so little Hugo can reach out and shock you like never before!
Seth (Jonathan Jackson) cannot erase the childhood memory of a fire that took the life of his mother and left him psychologically scarred Seth now seventeen has been under various shrinks and has always blamed his father Will (Treat Williams Mulholland Falls) for the death of his mother. The night of Seth's graduation ball a fellow student is found brutally murdered by a river. Because of Seth's psychotic behaviour his father suspects he has something to do with the murder. Seth is questioned by the police but released when another student confesses to the murder. Tina (Linda Hamilton Dante's Peak The Terminator) is a close friend of Seth's father and does not believe Seth is capable of any wrong. More people go missing but there is no trace of their bodies. Are these people a figment of imagination or are there skeletons in the closet?
The Perfect Man (Dir. Mark Rosman 2005): Teenager Holly Hamilton (Hilary Duff) is fed up of moving every time her single-parent mother Jean (Heather Locklear) breaks-up with another dead-beat boyfriend. To distract her mother from her latest bad choice Holly conceives the perfect plan for the perfect man - an imaginary secret admirer who will romance Jean and boost her self-esteem. When the virtual relationship takes off Holly finds herself having to produce a suitor from
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