The third release of the BFI's pioneering Adelphi Collection is a double bill showcasing two early films by John Guillermin (The Towering Inferno Death on the Nile). The Crowded Day (1954) is an engaging bittersweet comedy-drama focusing on the intertwined lives of a group of shop girls working in a London department store in the 1950s with a wonderful cast including John Gregson Joan Rice Dora Bryan Thora Hird Prunella Scales Sid James and Dandy Nicholls; Song of Paris (1952) is a charming romantic comedy which sees an archetypal Englishman - suavely played by Dennis Price - return from a jaunt abroad to face a dastardly foreign Count in a duel for the hand of a beautiful mademoiselle.
Home cinema was practically invented for Die Hard movies. The first film in particular remains an unbeatable action classic, a mixture of taut situations, Bruce Willis in excellent form as John McClane, and some outstanding directorial work from John McTiernan. The sequels? Well, everyone has their favourite. Take your pick from Dulles International Airport being taken over by terrorists at Christmas, Willis and Samuel L Jackson joining forces to tear through New York City, or computer hackers looking to bring things to a standstill. Its four films, rammed full of action, and unashamedly so. The main reason for upgrading the films to Blu-ray, in this case, is to see whats been done with the physical presentation of them. The news here is good: the Die Hard Quadrilogy sparkles in high definition, with razor sharp imagery, and fast moving action flashing before your eyes. And then theres the sound mix, a workout for whatever scale of speaker setup that you have. The deal is then sweetened by the inclusion of a varied collection of behind the scenes material for each of the films, with some of the archive pieces in particular being of real interest. Yet ultimately, its the four films, in tip-top condition, that make the Die Hard Quadrilogy a Blu-ray must-have. Top quality action, fabulous set pieces and excellent presentation: its a set not to be missed.
Last series BAFTA®- winning Made in Chelsea left us with cliff-hangers seething tensions and unanswered questions. Now your favourite group of socialites and heart-breakers are back – and this time the drama is more explosive than ever. With Spencer and Lucy’s relationship in tatters Spencer finds himself with two new women in his life. One is a sassy American blonde and the other he visits once a week to tell his most guarded secrets. Will either of them be able to save him from a lifetime of philandering? Andy and Louise are on shaky ground with yet more rumours of infidelity circling the royal borough as well as Spencer casting a dark shadow over their future. Will Andy ever be able to trust her? Or has their relationship taken a hit too many? And finally Spencer and Jamie find themselves in a familiar place – fighting for the affections of the same girl. Will the quest for victory get as ugly as it did last time? Or has one of them finally fallen in love? Expect bigger parties darker betrayal and bitch-fights so heated that even the ice-cold champagne won’t cool you down. Special Features: Man Off with Binky Lucy and Stevie Stevie Gets Dating Advice Jamie Pranks Proudlock Proudlock Pranks Jamie
Set in 1950’s Dublin Steve Lawlor (Richard Leech) returns to Ireland to aid the Republican cause by taking part in the armed robbery of a security van in the North. The robbery is a success but Lawlor who held the loot disappears. Canadian photographer John Kevin (William Sylvester) arrives in Dublin expecting to meet Lawlor but is informed by police that his friend died in a blazing car crash. The Republican gang believe Lawlor’s absent passenger in the car bookseller Danny O’Callaghan is the traitor and has made off with the stolen money. Lawlor’s Italian girlfriend doesn’t believe he died in the crash and when Kevin is attacked by a mysterious assailant in a white trenchcoat he becomes suspicious and begins investigating the circumstances of Lawlor’s death. But will he discover the real story behind his friends’ death and will the Movement take their revenge on a traitor?
The Man Who Shot Liberty Valance: Director John Ford brings us to the lawless frontier village of Shinbone, a town plagued by a larger-than-life nemesis, Liberty Valance (Lee Marvin). James Stewart plays the bungling but charming big-city lawyer determined to rid Shinbone of Valance, and he finds that he has an unlikely ally in the form of a rugged local rancher (John Wayne). The two men also share the same love interest (Vera Miles). But when the final showdown becomes inevitable, one...
The four films in this Agatha Christie Murder Mystery Collection demonstrate exactly why Christie's reassuringly formulaic whodunits have been extraordinarily resilient source material. In each we find a corpse (or several), an assorted group of suspects gathered in a self-contained location, all with a motive to commit murder, and the coincidental presence of the totem detective (Poirot or Miss Marple). Between 1974 and 1981, producers John Brabourne and Richard Goodwin mined the Christie seam for some of its ripest riches. Murder on the Orient Express (1974), directed by Sidney Lumet, features a cavalcade of stars including Ingrid Bergman, Lauren Bacall, John Gielgud and Sean Connery; while Christie herself gave Albert Finney's Poirot her blessing. The Art Deco setting exudes glamour; the plot is preposterously diverting; the lighting, silvery and washed-out, giving the suspects an appropriately grim and ghoulish air. With a superior Anthony Shaffer screenplay Death on the Nile (1978) saw Peter Ustinov taking over as Poirot. The backdrop of ancient Egyptian monuments helps bring this adaptation a touch of class, complemented by composer Nino Rota's epic theme tune. The Mirror Crack'd (1980) features Elizabeth Taylor and Kim Novak as rival Hollywood legends descending on a quaint English village to make a film, with Rock Hudson as Taylor's husband and Angela Lansbury as a rather unconvincingly robust Miss Marple. Shaffer returned to the fray, adapting Evil Under the Sun (1981) and moving Poirot from the Cornish Riviera to an island off the coast of Albania. Ustinov reprises his role and Maggie Smith returns, camper than ever, as the hotel owner inconvenienced by murder. On the DVD: It's a pity that the sound quality hasn't been sharpened up, though: Murder on the Orient Express sometimes evokes memories of the muffled incoherence of an old fleapit. Apart from trailers, extras are few and far between. There are no cast lists or filmographies. But Death on the Nile and Evil Under the Sun both feature interesting short promotional "'making of"' documentaries in 4:3 format. --Piers Ford
The 1924 blockbuster that launched John Ford into Hollywood's emerging A-list of directors The Iron Horse is an epic mythification of the American railroad's birth: a rambunctious blend of historical drama and Western actioner revenge story and saloon comedy noble biopic and all-bets-off tall tale. Neighbour to the pre-presidential Abe Lincoln in Springfield Illinois young Davy Brandon accompanies his father westward to realise the elder's dream of a rail line bridging the ends of the continent. Years after Brandon Sr.'s murder and scalping by a two-fingered Cheyenne half-breed the adult David (played by George O'Brien three years before his lead role in Sunrise here in the first of ten films he made with Ford) joins in the effort now underway to lay track and accommodate the iron horse. Once more stir the blood and butterflies of Davy's past as Ford guides his characters' fates towards final convergence like the merging of the tracks from east and west. With its expressive compositional prowess incredible stunt work and generous humour The Iron Horse anticipates the bounteous universe that Ford would go on to calibrate perfectly in his greatest works. The Masters of Cinema Series is proud to present The Iron Horse in its US full-length version for the first time on DVD in the UK.
For over 30 years the Children's Film Foundation dedicated itself to producing quality entertainment for young audiences, employing the cream of British filmmaking talent. Villains, gangsters and conmen are foiled by plucky London youngsters. Helmed by such celebrated directors as John Krish and Pat Jackson, the films in London Tales feature assured performances from an array of familiar faces, including a fresh faced John Moulder Brown (playing a schoolboy in trouble) and Bernard Cribbins (as a dastardly master of disguise). Newly transferred from the best available elements held in the BFI Archive, these much loved and fondly remembered family films finally make their welcome return to the screen after many years out of distribution. Includes: The Salvage Gang (1958), Seventy Deadly Pills (1966), Operation Third Form (1966) and Night Ferry (1976)
John Nada (Piper) is a struggling labourer who drifts into town and luckily scores a job at a construction site. Discovering a box of sunglasses Nada swipes a pair and is shocked to find what he can see through them; billboards demand citizens 'Eat' or 'Sleep' TV shows spout orders at him and some people look rather less than human.
With this trailblazing musical, writerdirectorstar John Cameron Mitchell and composerlyricist Stephen Trask brought their signature creation from stage to screen for a movie as unclassifiable as its protagonist. Raised a boy in East Berlin, Hedwig (Mitchell) undergoes a traumatic personal transformation in order to emigrate to the U.S., where she reinvents herself as an internationally ignored but divinely talented rock diva, characterized by Mitchell as a beautiful gender of one. The film tells Hedwig's life story through her music, an eclectic collection of original punk anthems and power ballads by Trask, matching them with a freewheeling cinematic mosaic of musicvideo fantasies, animated interludes, and moments of bracing emotional realism. A hardcharging song cycle and a tender character study, Hedwig and the Angry Inch is a tribute to the transcendent power of rock and roll. Features: New 4K digital restoration, supervised by director John Cameron Mitchell and cinematographer Frank DeMarco, with 5.1 surround DTSHD Master Audio soundtrack Audio commentary from 2001 featuring Mitchell and DeMarco New conversation between members of the cast and crew, including Mitchell, DeMarco, composer and lyricist Stephen Trask, hairstylist and makeup artist Michael Potter, animator Emily Hubley, actor Miriam Shor, and visual consultant Miguel Villalobos Whether You Like It or Not: The Story of Hedwig (2003), an 85minute documentary tracing the development of the project from its beginnings in a New York club to its theatrical premiere at the Sundance Film Festival New conversation between Trask and rock critic David Fricke about the film's soundtrack From the Archives, a new programme exploring Hedwig's production and legacy through its memorabilia Deleted scenes with commentary by Mitchell and DeMarco Trailer PLUS: An essay by Stephanie Zacharek, along with, production photos by Potter and costume designer Arianne Phillips, illustrations by Hubley, and excerpts from two of the film's inspirations, Plato's Symposium and The Gospel of Thomas.
A family reduced to imminent poverty by the father's disinclination to work; an American lawyer looking for the heir to half a million pounds; the scene is set for a hilarious tale of creative deception from director John Paddy Carstairs! Featured in a brand-new transfer from the original film elements, this highly engaging comedy stars Dixon of Dock Green star Jack Warner as Bartley Murnahan, a likeable loafer who manages to give the impression that a large inheritance is due to his family. Bartley uses his wiliness to settle some scores and secure a future for his children, but this new-found prosperity comes at a price he may not be willing to pay!
Yes, The Five Doctors is the one that gathers together Hartnell, Troughton, Pertwee, Baker and Davison, dumps them on some moorland and lets some of the Doctor's greatest enemies take potshots at them. Except, of course, that William Hartnell had sadly passed on by the time this series was made in 1983 (although his replacement Richard Hurndall does an excellent job) and Tom Baker was only featured as a patched-in cameo, apparently prevented from joining in by a temporal thingummy. However, this kind of creakiness comes with the territory and is soon forgotten. The assorted incarnations of the Doctor (together with a scattering of assistants) are drawn together through time and space to battle Daleks, Cybermen, Yeti--those weird androids which keep jumping into the air and disappearing--and many other old foes. They realise that they're on their home planet of Gallifrey and must eventually deal with the legacy of Rassilon, founder of the Time Lords. It's all great fun, of course, and the excellent chapter points on this DVD compensate for the rather self-indulgent lack of editing. --Roger Thomas
Double pack with two of John Carpenter's classic films Vampires and Ghosts of Mars! VAMPIRES: John Carpenter directs this horror based on the novel by John Steakley. When Jack Crow (James Woods)'s team of mercenary vampire hunters is slaughtered by the master vampire Valek (Thomas Ian Griffith), he teams up with Montoya (Daniel Baldwin) to fight back. Their only link to Valek is the beautiful, psychic prostitute Katrina (Sheryl Lee), and with her help they set out to confront the ultimate evil. FROM THE MASTER OF TERROR COMES A NEW BREED OF EVIL. James Woods leads a band of ruthless vampire hunters in a blood-soaked battle against the undead. Also starring Sheryl Lee, Daniel Baldwin and Maximillian Schell, Carpenter crafts a tense, brutal and action-packed horror/western crossover. GHOSTS OF MARS: Sci-fi feature directed by John Carpenter and starring Ice Cube, Natasha Henstridge and Jason Statham. The year is 2176 and Mars has been colonised by Earth, but the spirits of the old planet still continue to cause trouble. When a police team travels to a distant Martian mining outpost in search of the mass murder suspect Desolation Williams (Ice Cube), they find the place populated mostly by headless corpses. Williams is discovered locked in the town jail, and when the team is attacked by a mob of miners possessed by Martian spirits, it seems the jail might be the safest place for them all to be. IT'S THEIR PLANET. WE ARE THE ALIENS. John Carpenter blends horror and sci-fi in this action adventure set on Mars in the year 2176 as Martian police battle supernatural forces unleashed by a deep mining facility.
Chronicling the fortunes of four generations of a London theatrical family through the 1920s and '30s, The Bretts ran for two memorably successful series during the late 1980s. An Upstairs Downstairs of the theatrical set, it stars Norman Rodway as the effusive, charismatic Charles Brett and Barbara Murray as his strong-willed wife Lydia. With scripts from veteran screenwriters Rosemary Ann Sisson, Bill Craig, Laurence Marks and Maurice Gran, this set features both acclaimed series.It's 1927, and thespians Charles and Lydia Brett are at the peak of their careers. Intending to capitalise on their success by acquiring their own theatre, will this bid for creative freedom ensure their family's theatrical legacy?
A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.
John Krish is one of British cinema s best-kept secrets: a master of post-war documentary filmmaking who repeatedly turned his works for sponsors as diverse at the Central Office of Information (COI) and the NSPCC into not just effective non-fiction films but truly stirring cinema to rank alongside the world s greatest directors. A Day in the Life collects together four of his most cherished films: The Elephant Will Never Forget (1953) Our School (1962) They Took Us to the Sea (1961) and I Think They Call Him John (1964). In each of these films richly textured with the details of everyday post-war life Krish combines a deep belief in human beings with a compulsive desire to push the documentary form forward. This essential and critically acclaimed collection is supplemented with an interview with Krish as well as with Krish s rarely seen films I Want to Go to School (1959) and Mr Marsh Comes to School (1961).
Tom Courtenay gives a flawlessly nuanced performance as Billy Fisher the underachieving undertaker's assistant whose constant daydreams and truth-deficient stories earn him the nickname ""Billy Liar."" Julie Christie is the handbag-swinging charmer whose free spirit just might inspire Billy to finally move out of his parents' house. Deftly veering from gritty realism to flamboyant fantasy Billy Liar is a dazzling and uproarious classic.
Everybody has a dark side. That's the tag line for Sky Living's brand new spooky drama series Bedlam. And it's a phrase which is bound to haunt the lead characters as they settle into Bedlam Heights the converted lunatic asylum that they have chosen to call home. Kate (Charlotte Salt) has been working with her father Warren (Hugo Speer) to renovate the former asylum into the latest in modern living. She's also bagged herself a rather stylish flat in to the bargain which she now shares with best mate Molly (Ashley Madekwe) and Ryan (Will Young). That's until Kate's troubled cousin Jed (Theo James) turns up. He says he just needs a place to crash but the creepy goings on at Bedlam Heights soon start to get under his skin. Can he really 'Save Kate'? And from whom or what does she need saving? Bedlam is bound to bring a shiver to your evenings.
In this British drama Alan Bates stars as a young man who must decide whether to follow his heart or his responsibilities when his girlfriend falls pregnant and they are forced to move into her family's house.
When this epic series was first broadcast in 1973 it redefined the gold standard for television documentary; it remains the benchmark by which all factual programming must judge itself. Originally shown as 26 one-hour programmes, The World at War set out to tell the story of the Second World War through the testimony of key participants. The result is a unique and unrepeatable event, since many of the eyewitnesses captured on film did not have long left to live. Each hour-long programme is carefully structured to focus on a key theme or campaign, from the rise of Nazi Germany to Hitler's downfall and the onset of the Cold War. There are no academic "talking heads" here to spell out an official version of history; the narration, delivered with wonderful gravitas by Sir Laurence Olivier, is kept to a minimum. The show's great coup was to allow the participants to speak for themselves. Painstaking research in the archives of the Imperial War Museum also unearthed a vast quantity of newsreel footage, including on occasion the cameraman's original raw rushes which present an unvarnished and never-before-seen picture of important events. Carl Davis' portentous main title theme and score underlines the grand scale of the enterprise. The original 26 episodes were supplemented three years later by six special programmes (narrated by Eric Porter), bringing the total running-time to a truly epic 32 hours. Now digitally remastered The World at War looks even more of an impressive achievement on DVD. Available in five volumes, each handsomely packaged double-disc set comes with a detailed menu that places the individual programmes along a chronological timeline. Better yet, chapter access is laid out to allow you to select key speeches or maps or newsreel footage. The World at War was a landmark television event; its DVD incarnation underlines its importance as an historical document. --Mark Walker
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