This well meant but occasionally too sweet adaptation of Kim Edward's bestselling novel, stars Emily Watson who gives a Down syndrome baby a home when its father gives it away, preferring to tell his wife that the baby died at birth. Born twins, the two siblings grow up never knowing each other, the boy at home with his parents, who are too caught up in their own rocky relationship to notice him, and the Down syndrome girl grows up not knowing her real mother doesn't know she's still living.
This potentially heartbreaking story is sugar coated a little, but doesn't abandon raw emotion entirely. The pain the father's decision to separate the two twins at birth has far reaching consequences, but apart from being very watchable, the power of the story starts to fall away in favour of sentimentality.
In this admirable and hard-hitting British drama we get to see how the 9/11 disaster effected Muslims living in the UK. Set in a multicultural northern town, Yasmin, a young woman who has suffered an arranged marriage to a suspected terrorist, starts to resent what prejudices and restrictions the Muslim religion has brought on her. The characterisations are convincing and the script is intelligent, preferring to concentrate on how the Muslim community feels about the 9/11 attacks rather than how the non-Muslim public feel about Muslims. Luckily the narrative avoids melodrama, and instead shows us how blind a society can get through prejudice and confused hate.
Rambo is not a very good movie, nor does it say anything very profound. It offers us extended gory scenes of brutal violence, but this is what Rambo does, and the movie does what it says on the tin. In this rather short, recent installment we see Rambo hunting snakes near the Burmese border, grunting at them as he drops them into cages like a Dr Dolittle with vocal problems. Before long he is dragged into the fighting when a group of missionaries ask Rambo to take them on his boat up the Salween River to Burma. They are on a humanitarian mission, and show obvious disgust when Rambo asks if they have weapons, "When will you learn?" he murmurs. He only agrees to take them when Sarah Miller, the most down to earth of the missionaries, starts to talk earnestly about war and poverty, while still managing to flick and shake her Herbal-Essences washed hair in a way no snake-catching boat-driving killer could refuse. From this point onwards it's blood and guts all the way, especially when a group of British mercenaries get involved. The violence is so bloody it becomes almost dull, and the the part where Rambo tears open a man's throat with his bare fingers leaves you feeling sickened rather than thrilled. Apart from this unsurprising issue with violence, the film is generally slick and watchable. Just don't expect anything memorable.
I seem to be a lone voice here with this film. When Babylon A.D. was released it was very hard to find a review that gave it over two stars, but when I loaded the DVD fully expecting a car-crash of a movie I was pleasantly surprised, relieved and impressed. In this futuristic action thriller (that has an unmistakable resemblance of Children of Men) Vin Diesel plays Toorop, a mercenary with a growling voice (but what else can we get from the gravel-voiced Diesel) and a "get the job done" attitude. His job in this case is delivering a young women and her accompanying nun from Mongolia to America without getting killed. Toorop twigs this young woman is out of the ordinary when she anticipates a bomb attack when they are traveling. Her further abnormal talents range from operating submarine machinery she's never seen before to vaguely muttering things like "We will all die" in an eerie way. These makes Toorop uncomfortable. As a mercenary/delivery guy, he isn't used to his packages predicting the future. The whole film is very impressive, and towards the end features a brittle but good appearance from Charlotte Rampling. It isn't without flaws, but Diesel can carry a movie effortlessly, and with an exciting story such as this one his talents are never wasted.
This understated French drama about human emotions comes from the accomplished film-making brothers Jean-Pierre and Luc Dardenne, and looks at what a father might do if he was to meet the boy that killed his son. What Olivier does, however, is probably not the expected reaction. As a middle-aged carpenter, he trains up young teenage boys, teaching the skills and knowledge they need to enter into the business. One boy who turns up at his workplace happens to be his son's killer, newly released from juvenile detention, who wants to get an apprenticeship in carpentry. First puzzled at what to do, Olivier accepts and befriends the boy, though never stepping away from his coldly unemotional way of talking. There's also the intrusive but effective handheld camera. The film has the appearance of having been filmed with a handheld camera. Now, don't panic here, this isn't an intelligent version of Cloverfield. There is another very sea-sickening or erratically wobbly about the film technique. Just the slightly moving way of filming used in "The Son" helps us place this more within our own reality, and, as I said, manages to intrude on the characters as they go about their business. Although some parts, and even the entire film, could be accused of being mundane, I must stress how riveting this film is. By sensible direction and a sensitive script this film is an opportunity to enjoy some of the best of foreign film making.
American History X features the best performance from Edward Norton that I have ever seen. He plays Derek Vinyard, a neo-Nazi, in prison for racist attacks. While in Prison, his younger brother starts to take his views against other races on board, and starts writing school papers on Mein Kampf. Although racist and belligerent, younger brother Danny seems to be just misguided by the racist attitudes that surround him.
There are very dark things brooding within Tony Kaye's magnificent cautionary piece, including the dangers of getting on the wrong side of thugs in prison. Through befriending a black man while behind bars, Derek starts to rethink his racist views. This results in a man torn in different directions as he comes to terms with his inner conscience. Although this should be seen from everyone, it is definitely for those who who don't mind hiding behind a cushion in the squeamish parts.
Burn after Reading, released in the UK just nine months after their last film, is the latest comedy effort from the quirk-addicted Coen Brothers. Unfortunately, this rather light helping about ridiculous actions of stupid gym workers and incompetent spies, may have been done a disservice being released so soon after Oscar winner "No Country for Old Men". Those expecting a second masterpiece will be disappointed, because, honestly, this really isn't a masterpiece. But, I'm glad to say, it still is lots of fun. The story isn't simple. Brad Pitt (who turns goofy stupidity into an art form) plays Chad, a brain-less, bike riding gym instructor, who finds a CD containing unauthorised CIA information. These files are from the home of a certain Osbourne Cox (a stunning John Malkovich) who has been sacked from the secret service for "drink problems". His wife, Katie, spends too much time having sex with serial dater Harry Pfarrer (George Clooney) to notice. This Harry character spends his time building sex toys at home and sleeping with women he finds on dating sites. One of these women happens to be Linda Litzke, who has a desperate self-conscious need to have plastic surgery but cannot raise the needed capital. And, as it turns out, she works at the same gym as our dear friend Chad (Mr Pitt). Complex, yes! The story really gets moving when Chad and Linda decide to enter into a little blackmail activity with Mr Cox, a man you really don't want to mess with. With all the characters in place the Coen Brothers have a lot of fun showing how stupidity and quirky slapstick humour can be one of the best forms of entertainment. Apart from a rather quickly wrapped up ending (though this is better than outstaying its welcome) the film is nearly the masterpiece Coen-fans were hoping for. And watch out, the bloody and often shocking violence seen in "No Country..." hasn't gone completely. There are some very bloody "shock moments" here too. Though, the scary thing is, they are some of the funniest in the film.
The Fourth series of Doctor Who can be summed up in 3 words - exciting, emotional and brilliant!
As the series begins we get reintroduced to one time companion Donna Noble, played by the wonderful Catherine Tate, searching for the Doctor and When She finds him the fun really starts.
From the wonderfully fun first episode "Partners in Crime" to the exciting and heart-breaking final episode "Journeys End", the series keeps the pace that every fan and avid viewer has come to expect from Doctor Who.
This Series also sees the return and final departure of a very familiar face to fans of the new series of Doctor Who, and their return starts the 3 episode final story arc of the series.
But the real surprise of the series, is the wonderful turnaround of Catherine Tates character Donna Noble, turning from Comic Relief too one of the best companions that the doctor has ever had in the tardis since Sarah Jane Smith. Her dramatic turns from episodes such as "Fires of Pompeii" and "Journeys End" will bring a tear to your eye.
All in all, this box-set comprises of one of the best of, if not the best, Series of Doctor Who to date. If you haven"t seen it yet, now"s your chance to watch it in its entirety without the weeks of waiting.
At long last, not only are we allowed the pleasure of seeing this great MGM spectacle on DVD, but also in a stunning BLU Ray release!
This was MGM's most expensive movie ever after "Gone with the Wind" and when initially released in the West End, ran for two years at the Rialto cinema in Leicester Square!
Memorable not only for its fabulous sets and costumes, but also for an unforgettable portrayal from Peter Ustinov as the demented emperor Nero and a superb score from maestro composer Miklos Rosza.
(I was fortunate to meet this gentle man at a film concert in London and he told me that from the many scores he composed for films this was his special favourite and the score reflects the huge amount of research which Dr Rozsa carried out for his composition.)
Deborah Kerr never looked more beautiful than here as the lovely Christian Lygia and Robert Taylor is suitably dashing as Roman legion commander, Marcus Vinicius, who falls madly in love with Lygia, despite their conflicting views on Christianity.
Many sequences stay in the mind-- the burning of Rome with its thousands of extras attempting to flee the city, the triumphal procession of the Roman soldiers watched by a huge and excited crowd, the Christians being thrown to the lions in the arena and the tense fight between Ursus the slave, portrayed by Buddy Baer and a frenzied bull, while a terrified Lygia who is tied to a stake watches in helpless horror.
Add to these the fabulous feast and orgy sequence in Nero's court with exotic dances, savage wrestling contest and witty dialogue and you have a true classic, which 58 years after its first release is still as arresting and involving as ever!
If you enjoyed "Ben Hur", "Spartacus" and "King of Kings", "Quo Vadis" is your kind of film and they definitely don't make movies like this anymore!!
If you don't yet have a Blu Ray player, then grab yourself a copy of the standard definition DVD as the remastered copy is first rate and you can enjoy this until you are able to experience the High Definition copy!
Thanks Warner Brothers for redressing the balance and making this magical movie available again and giving every DVD collector the opportunity to add a unique cinematic experience to their library.
I thnik that this is the best series so far. It leaves you sat on the edge of you seat wanting more and more. The locations they visist are both grand and spooky, which lets face it thats what its all about!
I watched and enjoyed the original 12 part OVA of Guyver when I was younger (in fact it was one of the things that first got me into anime), so when Guyver - Bioboosted Armor was released I was excited to say the least!
Following much closer to Yoshiki Takaya's original Manga story then the OVA ever did, it tells the story of Sho Fukamachi - a young Japanese boy who finds and accidentally activates a "Guyver Unit" - covering him in a living supersuit with awesome powers. There's only one problem - the bad guys (The sinister and secretive Chronos Corporation) want their Guyver Unit back and they are willing to go to any extreme to get it!
Now, Sho must fight against Chronos and their army of super powered mutant "Zoanoid" soldiers for his very survival - not to mention the survival of everyone and everything he knows and loves as well!
Full of action, adventure, friendship, love and tragedy, this series is pure excellence from start to finish and has pride of place in my DVD collection - in fact, no Anime collection would be complete without it!
Monica Vitti looks absolutely stunning in every scene of this picture, whilst her performance; as cynical, enigmatic wallflower; Vittoria, is comparable only to her awkward, demanding role as Giuliana in 'The Red Desert' (1964) and marks a fitting conclusion to director Michelangelo Antonioni's 'Incommunicability Trilogy'; an unusual series of films about isolation in 1960s Italy. Now if one refuses to suspend their disbelief for a movie, then the highest compliment that film can receive is that the viewer forgot he or she was watching a film, and when it came to 'L'Eclisse' ('The Eclipse'): I often forgot I was watching a film. So convincing was the mis-en-scene, so naturalistic the performances; Monica Vitti acts with her entire being and almost negates the need for a script, effortlessly managing to convey meaning in a gesture, stance or expression. A woman who can devastate an audience without uttering so much as a word of dialogue; and nowhere is that more evident than in the opening scene where she tries to end her relationship with mild mannered intellectual Riccardo (the underrated Francisco Rabal, who later starred with Maximilian Schell in Alessandro Blasetti's 'Simon Bolivar'). Vittoria works as a translator of books hence uses her ability to interpret the human condition with all its genuine promise and mercurial deceits: "I'm tired and depressed, disgusted and confused", she confides, as if reading out a shopping list "...two people shouldn't know each other too well if they want to fall in love, but then maybe they shouldn't fall in love at all" declares Vittoria, this is clearly a woman with a lot on her mind: an elegant, complicated, sensitive soul left to her own devices in a changing world that seems to reject all she represents. Her liaison with slick, aggressive stockbroker Piero (a young Alan Delon, five years away from his iconic role in 'Le Samourai') is doomed to failure when Modernity, Capitalism and Industrialisation, like the faces of Cerberus itself, rear their ugly heads. Alan Delon's character is a man who knows the price of everything but the value of very little; consumed by materialist desires, their mutual attraction is hampered by an inability to communicate what Vittoria suggests is 'The Silence of Love'. Her attitude reminded me somewhat of Chris Eigeman's classic "I'm nostalgic for conversations I had yesterday" speech, in Noah Baumbach's 'Kicking & Screaming' (1995) and though the films are worlds apart, there's still that similarity of characters indulging wistful recollection and offering pre-emptive evaluations on events that have yet to happen. Antonioni is an auteur who straddles the border between surrealist satire and neo-realism; for the overtly comedic manner in which the stockbrokers resume trading after pausing for a moment's silence to mark the passing of a colleague, is pure Luis Buñuel in its exposé of petit bourgeois sentiments and capitalist absurdity. It's also worth noting that one of the original posters for 'L'Eclisse' was a satirical allusion to the Veronica Lake poster for 'Sullivan's Travels' (1941) a film which implied that lowbrow escapism was the primary function of cinema, something that Antonioni obviously disagrees with, so much so that he's on record as having said that "...an audience must work for their enjoyment" which is admirable in light of many a modern day movie where we're not so much spoon fed as force fed everything from the story, to the visuals to the characters involved. Materialism is also shown to be an ideology which dehumanises the individual to the point of becoming a mere commodity; traded, bought and sold at will, an assimilated cipher wandering around in an empty and meaningless paradigm, with no end or consequence to speak of. Vittoria sees this from the onset; the chaos & inequity of the Stock Exchange, where her mother plays the markets, is deemed to be an uncivilised arena of nonsensical pomposity: "...I can't tell if it's an office, a market place or a boxing ring". Her indifference / mild aversion is vindicated when the stock firm's manager refers to a major crash as the necessary "weeding out" of ordinary investors "...that leaves the better clients standing". In one of its more controversial scenes, 'L'Eclisse' revisits the theme of racial-sexual envy, first touched upon during the nightclub dance sequence in 'La Notte': Vittoria and neighbour Anita (Rosanna Rory, great forgotten actress from the Commedia All'Italiana period) visit their mutual friend & keen photographer Marta (played by famous Italian photographer Mirella Ricciardi in a clever bit of self reflectivity). Marta's apartment is a cultural shrine to her years spent in Africa, suddenly, we cut to Vittoria: blackened up and in faux tribal gear, dancing to some traditional African music; and though this all looks & sounds wholly inappropriate not to mention racist, it's actually done in the context of self-exploration by a woman who we know by that point doesn't have a prejudice bone in her body. And yet in spite of Antonioni's subtext, there's still something slightly perturbing about the whole thing. Solemnity returns in an instant when Marta, enjoying the revelry at first, rebukes her guests with the line: "That's enough. Let's stop playing Negroes". She confirms her inherited racism in the following scene, but unknowingly contradicts herself with every other sentence, Vittoria & Anita are at a loss to explain Marta's prejudicial mindset and simply refute her off-colour remarks with blasé, rational rebuttals. Looking back at this scene; it plays out like a sly dig at European society's crude understanding of the de-colonisation process, which was in full swing by 1961. And the fact that they'd yet to fully comprehend the crimes of their imperial past, illustrated by the shot in which Vittoria briefly refers to a military (i.e. Mussolini era) photograph of the father she never knew. 'L'Eclisse' is pre-écriture feminine drama that subverts some of the motifs Antonioni usually employs to covey alienation e.g. positive cover is a first; for whereas smoke and fog were used as barriers in his other films, here; Vittoria, abroad a small aircraft, finds momentary comfort and joy from behind the natural veil of a cloud. A rusty bucket of water in which Vittoria places a twig and Piero's empty cigarette carton is symbolic of her stagnant emotional state; enclosed in a decaying, but familiar, edifice surrounded by the forces of modernity (i.e. the building site); its climatic rupture signifies release and death, for the water literally goes down the drain; the cost, according to Antonioni, of half measures & modernity's deadly parting shot at the slightest hint of any genuine human interaction. The Women's Liberation Movement, as Norman Mailer accurately predicted, was a long term disaster for which we're all still paying the price: The politically conscious, liberated, courageous voices of change were supposed to make things better for us all (and for awhile they did). But an unseen subversion somewhere along the line misdirected women's revolutionary idealism and all they wound doing up was to wade into the same mire as men; equal only in suffering and exploitation by the powers that be. Vittoria is the archetypal 1960s woman: an era in which, as Sheila Rowbotham stated in 'The New Women's Century': "Images of femininity were communicating blatantly opposing messages of freedom and subordination" which is evident in her relationships with Riccardo & Piero. Perhaps one of the reasons for these mixed messages, was that the patriarchal illuminati didn't want conscious equals to challenge their misrule, but simply required a new army of slaves who'd help undermine collective morality, work longer hours and drastically destabilise, for want of a better term, 'Family Values'. And the only reason for their success, was due to our reluctance to put aside petty, externally imposed divisions or try to reclaim and shape our own our destiny for a new and better world. I enjoyed Monica Vitti's immediate post-Antonioni career; films like 'Modesty Blaise' (1966), 'Girl With A Pistol' (1968) & 'The Bitch Wants Blood' (1969) gave her a chance to do something different, though I wasn't as big a fan of Vitti's cabaret comedies; she worked steadily up until the early 90s but never quite attained the iconic status of some of her, in my opinion not as talented, contemporaries (e.g. Bridget Bardot) which is a shame, but makes her films in the Antonioni period all the more cherished. Now it's very easy for modern audiences to laugh at this seemingly dated & self-important genre, but harder to tune into its wavelength and fully appreciate the care & effort that's gone into the story, direction and performances: 'L'Eclisse' is nothing less than a masterpiece of subtle genius and style; the perfect synthesis of artistic vision and delivery. 'The Incommunicability Trilogy': 'L'Avventura', 'La Notte', 'L'Eclisse' along with 'The Red Desert' are rarely visited landmarks in the history & evolution of cinema, but if seen in the right frame of mind; are classics that'll have you coming you back time after time.
Tim Burton was on shaky ground for a while after the saccharine Big Fish and the disappointing Corpse Bride. But he's back on form with his adaptation of Stephen Sondheim's bloody musical, Sweeney Todd.
The gruesome tale of the Demon Barber of Fleet Street and his kind, but equally unhinged neighbour, Mrs Lovett, is told with all the macabre style you'd expect from Tim Burton. The fact that it's a musical is quickly forgotten as the film moves messily through murder, revenge and meat pies.
A pacey enjoyable tale of hatred, revenge and un-requited love, the bleak horrors of the Victorian penny dreadful are present throughout this schlocky slasher. And there's a distinct tone of melancholia in its excellent songs.
Johnny Depp, who has already won a Golden Globe for his part in Sweeney Todd, deals admirably with a role that's usually played by opera singers.
Helena Bonham Carter makes a perfect Mrs Lovett. Playing a twisted version of the corseted lady that plagued her early career, she shines as Todd's accomplice. Her beautifully light voice carries over Depp's - initially as the voice of reason and later as the voice of desperation.
Newcomer, Ed Sanders is excellent as the moral core of the piece, Toby.
Disappointingly, Sacha Baron Cohen is unfunny and underused as rival barber Signor Adolfo Pirelli.
Almost monotone, the striking mise-en-scene looks wonderful and becomes increasingly populated with pleasing dribbles, fountains and spurts of red, as Todd works his way, trance-like, through each victim.
Set designer Francesca Lo Schiavo and cinematographer Dariusz Wolski have captured Victorian London and briefly, the Victorian seaside, to full macabre effect. Burton fans will delight in the parallels between Todd's creepy attic residence and that of Edward Scissorhands.
Sweeney Todd is about man devouring man. However, Burton's idiosyncratic style means that you never quite loose sympathy with our anti-heroes, and despite themes of cannibalism, murder and revenge, it remains utterly enjoyable to the end.
It was always a risk for the BBC to bring back Doctor Who and apart from making me a fan of the show, this series has revamped the franchise making it the best thing to happen on TV for a number of years.
The look of this boxset is amazing and worth having for any collector. The extras, although brilliant, are somewhat tedious because they only have Doctor Who confidential cut downs, the whole confidential episodes would make it that much better.
Nonetheless this boxset does not disappoint and the consistently emotional episodes will have you crying and laughing for years to come.
Well worth the buy!
What's Up Doc? - A comedy classic. This is the loved Streisand. Funny, oddball comedy with that quirky, 100 mile an hour delivery. This film is worth the money alone.
Up The Sandbox - Incredibly dated film about the emerging women's rights movement and the effect on women mentally. Cue, flashbacks and fantasy scenes from history with terrible British-like accents. It has a period curiosity but dull.
Nuts - An involved, emotional drama about a hooker on trial for not paying her taxes. We see Streisand as a very damaged but smart woman who takes on the system and ends up on an intense, emotional journey which shows us how she became the woman she is. If a little long, it is a rewarding watch which proves Streisand's dramatic acting credentials.
The Main Event - Pairing up with Ryan O'Neal from What's Up Doc. If not the same success of the first it has it's moments and charm. Streisand becomes the coach of a boxer and of course comedy (and love) ensues.
4 films, 3 from early in her career and one from just before her retirement from cinema.
An amazing bargain!
Stop watching all those fake and tedious series. Start watching The Shield. You'll really get suprised by this raw and edgy show.
In the 5th season Vic Mackey struggles with IAD agent Jon Kavanaugh (Forest Whitaker). Kavanaugh is trying to dismember the strike team and take Mackey's badge but Mackey isn't gonna give up without a fight. In the final episode everything comes to a climax and the strike team will never be the same.
As usual the acting is very good and Whitaker plays his role very intense. You really start to hate him in the series! For me this is the best season of The Shield so far but I heard season 7 is really magnificent.
I could recommend everyone to buy the series. You won't regret it.
This film tells the story exactly how it is. You sometimes wake up in the morning, wanting to sneak away. Brilliant story line, I would definitely recommend to my mates.
Wow, this film touched me, I'm still thinking about it days later. It's is based on Chris McCandless's life and the journey he took. Chris McCandless touched many lives on his travel to Alaska and he also touched mine to even though it was through the film. I would have loved to have met him. RIP x
Tough guy 'heist gone wrong' movie starring Kurt Russell and Kevin Costner in joint-lead roles. Strong support, but Christian Slater is not used to his potential. Apart from that complaint the movie is faultless. Courtney Cox Arquette in a departure from her Friends role (this was made while friends was still on air). A subdued Thomas Haden Church provides a reasonably believable US Marshall competently assisted by Kevin Pollack. All in all a decent flick, you should note there are scenes which are inappropriate for younger audiences.
To finish, there"s a unique twist to this story from the outset.
Elvis fans will love it.10/10
Heist/road movie.
Firstly, let's get a few things out of the way, as far as TV dramas go The Sweeney is an all-time classic that broke the mould back in the 1970's. More importantly, it's stood the test of time and every episode is still very entertaining today, fast-paced edge-of-your-seat action without any American style gloss. Its famous car-chases even rival American police-dramas. In fact in my opinion there's never ever been a cop-show to touch it.
Before the excellent duo of John Thaw and Dennis Waterman began as Regan and Carter, most British TV shows (police-dramas in particular) were unrealistic and were mainly shot in a studio. This superb series was gritty, shot on location in London and for the first time portrayed cops as real geezers who got the job done but liked to ruck, drink vast amounts of booze and chat-up women (usually in that order !!). It was also excellently written and produced, and the cast list from its four series duration reads like a "who's who" of top actors from any era.
The 4 series were produced between 1975 and 1978, with 53 episodes made. All of these episodes have been re-mastered and now look as though they were filmed as recently as another 70's cop show "Life on mars", which was heavily inspired by The Sweeney. Having watched all 4 series recently, I'm amazed at how little violence is portrayed in most episodes of The Sweeney, as it does have an unfair reputation for being OTT. To be able to get the complete set for around £40 is excellent value and is an essential purchase for anyone who has an interest in a superbly produced police drama.
The 2007 Network release boxset contains exclusive extras on every disc, which range from interviews/commentaries from The Sweeney's creators/stars; to episodes of other T.V shows from this era featuring Thaw and Waterman (i.e. Morecambe & Wise Xmas special, This is your life, Thick as Thieves and Special Branch). It even has a feature on how all 53 episodes were remastered, and has all The Sweeney annuals from the 70's in PDF format. Essentially it's the best Retro show's DVD boxset with the best extras that I've seen.
All in all, a fantastic boxset at an even better price, it's a blag that even Regan and Carter would be in awe of.
Scotland Yards finest chasing the villains before there was Life on Mars.
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