Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavour of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-coloured suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighbourhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice and Batman) are visual spectacles with elements of fantasy but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's child-like vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret Fetzer On the DVD: Tim Burton is famed for his visual style not his ability as a raconteur, so it's no surprise to find that his directorial commentary is a little sparse. When he does open up it is to confirm that Edward Scissorhands remains his most personal and deeply felt project. The second audio commentary is by composer and regular Burton collaborator Danny Elfman, whose enchanting, balletic score gets an isolated music track all to itself with his remarks in-between cues. Again, for Elfman this movie remains one of his most cherished works, and it is a real musical treat to hear the entire score uninterrupted by dialogue and sound effects but illuminated by Elfman's lucid interstitial remarks. Also on the disc are some brief interview clips, a "making of" featurette and a gallery of conceptual artwork. The anamorphic widescreen print looks simply gorgeous. --Mark Walker
The hotly anticipated follow up to the UK's most successful comedy film of all time, THE INBETWEENERS 2 sees our favourite foursome visit Australia.
A disgruntled bounty hunter (Gerard Butler) is hired to track down and arrest his toughest target yet...his ex-wife (Jennifer Aniston).
They're here to save the world! Featuring both of the Ghostbuster films which showcased the considerable talents of Saturday Night Live comedians Bill Murray and Dan Aykroyd; as well as Sigourney Weaver and Rick Moranis. Ghostbusters (Dir. Ivan Reitman 1984): Who ya gonna call? Ghostbusters! Gaggles of little green ghosts spooks and a host of paranormal occurrences are on the rampage in New York. Can anyone save the world from these supe
Ritchie is a Glaswegian chancer with low hopes and no prospects. Disillusioned with city life, he goes undercover at a Highland conservation centre to make his fortune as an illegal pearl fisher with the help of his two hapless and accident prone mates, Danny and Fraser. Here he meets Beth, a pretty English conservationist passionate about saving endangered mussels from the clutches of pearl thieves in the Scottish Highlands. Falling for her instantly, Ritchie must beat off competition in the form of Highland Ranger Ethan, a smooth talking American Adonis convinced that Beth can't resist his charms forever. After the success of pearl fishing attracts the unwanted attentions of old school Glaswegian mobster Gavin and his work at the centre leads him to question his true motivations, Ritchie must risk life and limb to save the Highlands from ecological disaster and win Beth's heart.
If you don't think Austin Powers: International Man of Mystery (1997) is one of the funniest movies of the 1990s, maybe you should be packed into a cryogenic time chamber and sent back to the decade whence you came. Perhaps it was the 1960s - the shagadelic decade when London hipster Austin Powers scored with gorgeous chicks as a fashion photographer by day, crime-fighting international man of mystery by night. Yeah, baby, yeah! But when Powers's arch nemesis, Dr. Evil, puts himself into a deepfreeze and travels via time machine to the late 1990s, Powers must follow him and foil Evil's nefarious scheme of global domination. Mike Myers plays dual roles as Powers and Dr. Evil, with Elizabeth Hurley as his present-day sidekick and karate-kicking paramour. A hilarious spoof of '60s spy movies, this colourful comedy actually gets funnier with successive viewings, making it a perfect home video for gloomy days and randy nights. Oh, behave! "I put the grrr in swinger, baby!" a deliciously randy Powers coos near the beginning of The Spy Who Shagged Me (1999), and if the imagination of Austin creator Mike Myers seems to have sagged a bit, his energy surely hasn't. This friendly, go-for-broke sequel finds our man Austin heading back to the '60s to keep perennial nemesis Dr. Evil (Myers again) from blowing up the world - and, more importantly, to get back his mojo, that man-juice that turns Austin into irresistible catnip for women, especially American spygirl Felicity Shagwell (a pretty but vacant Heather Graham). The plot may be irreverent and illogical, the jokes may be bad, and the scenes may run on too long, but it's all delivered sunnily and with tongue firmly in cheek. Myers teams Dr. Evil with a diminutive clone, Mini-Me (Verne J. Troyer), then pulls a hat trick by playing a third character, the obese and disgusting Scottish assassin Fat Bastard. Despite symptoms of sequelitis, Austin Powers in Goldmember (2002) is must-see lunacy for devoted fans of the shagadelic franchise. Unfortunately, the law of diminishing returns is in full effect: for every big-name cameo and raunchy double-entendre, there's an equal share of redundant shtick, juvenile scatology, and pop-cultural spoofery. All is forgiven when the hilarity level is consistently high, and Mike Myers -returning here as randy Brit spy Austin, his nemesis Dr. Evil, the bloated Scottish henchman Fat Bastard, and new Dutch disco-villain Goldmember - thrives by favouring comedic chaos over coherent plotting. Once they've tossed Austin into the disco fever of 1975 (where he's sent to rescue his father, gamely played by Michael Caine), Myers and director Jay Roach seem vaguely adrift with old and new characters, including Verne Troyer's Mini-Me and pop star Beyoncé Knowles as Pam Grier-ish blaxpo-babe Foxxy Cleopatra. A bit tired, perhaps, but Powers hasn't lost his mojo.
Time travel in the movies is at an all time high in Bill & Ted's Excellent Adventure. Bill S Preston Esquire (Alex Winter) and Ted Theodore Logan (Keanu Reeves) are in danger of flunking History class. They're rescued by Rufus (George Carlin), a resident of San Dimas 700 years in the future--a future in which their band Wyld Stallyns has brought about world peace and the best water slides in the universe. Entrusted with a phone booth time machine, they pick up various historical personages to give a colourful stage show for their final exam. The hip 80s rock sensibility paved the way for many comedies that followed Wayne's World, with air guitar and phrases like "bogus" and "dude" entrenching themselves way beyond the film's cult following. The film spawned a number of spin-offs including a bodacious cartoon and comic book series. On the DVD: a trailer and a gallery of 20 behind-the-scenes photos will disappoint fans, even though it's interesting to see director Stephen Herek at work before he moved onto more serious films such as Mr Holland's Opus. However, the film has never looked better than in this transfer, and the effects still look terrific (especially the channels of Time). A Dolby sound mix also does wonders for Beethoven's keyboard improvs. --Paul Tonks
Adam Sandler fans are sure to enjoy this no-brainer comedy, but everyone else is strongly advised to proceed with caution. Before scoring a more enjoyable hit with his 1998 comedy The Wedding Singer, the former Saturday Night Live goofball played Happy Gilmore, a hot-tempered guy whose dreams of hockey stardom elude him. But when he discovers his gift for driving golf balls hundreds of yards, he joins a pro tour to win the prize money needed to rescue his beloved grandma's home from repossession. The trouble is, Happy's not so happy. He's got a temper that frequently flares on the golf course (he even dukes it out with celebrity golfer Bob Barker), but a retired golf pro (Carl Weathers) and a compassionate publicist (Julie Bowen) help him to perfect his putting game and adjust his confrontational attitude. How much you enjoy this lunacy depends on your tolerance for Sandler's loudmouthed schtick and a shocking number of blatant product-placement endorsements, but if you're looking for broad comedy you've come to the right tee-off spot. --Jeff Shannon
Amy Mitchell (Mila Kunis) puts her family first, second, and third. But her man-child husband, high-maintenance kids and idiot boss are taking a toll. She gives and gives, and gives and gives, and then gives a little more, but it s never enough. When the alpha moms (Christina Applegate, Annie Mumolo and Jada Pinkett Smith) at her kids school push her too far, Amy finally snaps. Good Amy becomes Bad Amy really fast and she doesn t go alone. Teaming up with two other misfit moms (Kathryn Hahn and Kristen Bell), Amy gets a jolt of freedom that shakes up her life and might even make her a better mom. So call a sitter, put on your comfy pants, and pour yourself a double Chardonnay, because these moms are about to get bad. SPECIAL FEATURES: Deleted Scenes Interviews with the Moms Gag Reel A Bad Moms Christmas: A BAD MOMS CHRISTMAS follows our three under-appreciated and over-burdened moms (Amy, Kiki, and Carla) as they rebel against the challenges and expectations of Christmas in hopes of creating a more perfect holiday for their families. And if that was hard enough, they have to do all of that while hosting and entertaining their ultimate holiday foes: their own mothers. By the end of the journey, our moms have redefined how to make the holidays special for their families and it ends up bringing them closer to their own moms. SPECIAL FEATURES: Deleted Scenes Gag Reel
The Blues Brothers: John Belushi and Dan Aykroyd--as "legendary" Chicago brothers Jake and Elwood Blues--brought their "Saturday Night Live" act to the big screen in this action-packed hit from 1980. As Jake and Elwood struggle to reunite their old band and save the Chicago orphanage where they were raised, they wreak enough good-natured havoc to attract the entire Cook County police force. The result is a big-budget stunt-fest on a scale rarely attempted before or since, including extended car chases that result in the wanton destruction of shopping malls and more police cars than you can count. Along the way there's plenty of music to punctuate the action, including performances by Ray Charles, Aretha Franklin, Cab Calloway and James Brown that are guaranteed to knock you out. Keep an eye out for Steven Spielberg as the city clerk who stamps some crucial paperwork near the end of the film. The Blues Brothers 2000: It's hard to ignore the sad and conspicuous absence of the late John Belushi, but this long-delayed sequel still has Dan Aykroyd to keep the music alive. Once again, Elwood's trying to reunite the original Blues Brothers Band, and this time he's got a strip-joint bartender (John Goodman) and a 10-year-old orphan named Buster (J Evan Bonifant) joining him at centre stage. It's a shameless clone of the first film, and nobody--especially not Aykroyd or director John Landis--seems to care that the story's not nearly as fun as the music. Of course there's a seemingly endless parade of stunts, including a non-stop pileup of police cars that's hilariously absurd, but what really matters here--indeed, the movie's only saving grace--is the great line-up of legendary blues musicians. Aretha Franklin, James Brown, Junior Wells, Eric Clapton, BB King, Jonny Lang, Eddie Floyd and Blues Traveler are among the many special guests assembled for the film, and their stellar presence makes you wonder if the revived Blues Brothers shouldn't remain an obscure opening act. --Jeff Shannon, Amazon.com
While its sequels were formulaic and safe, the first Beverly Hills Cop set out to explore some uncharted territory and succeeded. A blend of violent action picture and sharp comedy, the film has an excellent director, Martin Brest (Scent of a Woman), who finds some original perspectives on stock scenes (highway chases, police rousts) and hits a gleeful note with Murphy while skewering LA culture. Good support from Judge Reinhold and John Ashton as local cops not used to doing things the Detroit way (Murphy's character hails from the Motor City). Paul Reiser has a funny, brief moment at the beginning and Bronson Pinchot makes an hilarious impression in a great, never-to-be-duplicated scene with the star. --Tom Keogh
One of the best British sitcoms of all-time The Likely Lads focuses on the friendship between two working-class men James Bolam and Rodney Bewes living in the north east of England. Bob (Bewes) is the 'sensible' one doing his best to get on with his job and 'better' himself. Terry (Bolam) is the 'irresponsible' one intent on living life to the full. He's forever getting himself (and Terry) into trouble of one kind or another... Several Dick Clement and Ian La Frenais re
This not-quite-black comedy was probably a laugh riot on paper. The translation almost works, but the execution is flawed. Phoebe Cates is a recently separated young woman who suddenly begins to see her supposedly imagined childhood friend (the titular Drop Dead Fred) after moving back into her mother's home. Is he a manifestation of her secret desires to ditch the boorish spouse? Or was he real all along? Rik Mayall is a limber, carrot-topped comic with the lamentable assignment of trying to make us laugh with vulgar, sophomoric trickery. He is supposedly the repository of Cates's fastidious repression but is more annoying than cathartic. --Rochelle O'Gorman, Amazon.com
This box set features all the episodes from series 1-3 of Bottom. Rik Mayall is 'Richie' Richard Richard - He's nice in a smarmy creepy disgustingly oozy oil-tongued sort of way Adrian Edmonson is Eddie Hitler- the kind of person you cross the road to avoid. Infesting a squalid flat in a seedy part of London they belch curse and smash their way through crisis and boredom alike in an orgy of destruction. Each episode sees them spin into a madcap whirlwind of slap
What's a young ghost couple to do when their quaint New England home is overturn by trendy New Yorkers? They hire a freelance bio-exorcist to spook the intruders. And everyone gets more than he she or it bargained for! Alec Baldwin Geena Davis Winona Ryder and Sylvia Sidney share starring honours with the movie's wondrous production design Harry Belafonte soundtrack tunes and Academy Award winning Best Makeup. So exorcise your right to fun. Say the word three times and have a wonderful Day-O!
By its fourth series, The Simpsons had come far enough for Lisa to make a self-referential joke about Dustin Hoffman's and Michael Jackson's pseudonymous guest voice appearances in series 2 and 3, respectively. In this series, no less than Elizabeth Taylor (in two episodes), Bette Midler and even the reclusive Johnny Carson blessed The Simpsons with their iconic presences. Awhile back, US magazine Entertainment Weekly ranked the top 25 Simpsons episodes. Five gems from series 4 cracked the top 12, including the (debatable) choice for No. 1, "Last Exit to Springfield". Other episodes that loom large in the Simpsons legend are "Mr Plow" (you know the jingle: "Call Mr Plow / That's my name / That name again is Mr Plow"), "Marge vs. the Monorail", featuring a Music-Man-style extravaganza, and "A Streetcar Named Marge", the episode that outraged New Orleans residents, who heard their fair metropolis referred to as "a city that the damned call home". The Simpsons smartly subverts traditional family sitcom convention, but anyone who thinks the show doesn't have a heart is advised to watch "I Love Lisa" and "New Kid on the Block", two fourth-series gems that absolutely nail the agony and ecstasy of unrequited crushes ("You won't be needing this", a heartbroken Bart fantasises his babysitter saying while dropkicking his heart into a wastebasket in "New Kid"). While the Simpsons' celebrated ensemble gets all the glory, we must pause now to praise the peerless writing staff, among them George Meyer, Al Jean, Jon Vitti, John Swartzwelder, David Silverman and Conan O'Brien. One can only marvel in astonishment at the alchemy that went into creating, week after week, such essential episodes as "Kamp Krusty", "Streetcar", the profane and profound "Homer the Heretic" and "Lisa the Beauty Queen" (and that's just disc 1!). The animators, too, rose to the occasion, particularly in "Itchy & Scratchy: The Movie", with its dead-on, ultra-violent sinking of the seminal Disney cartoon "Steamboat Willie". Another benchmark in The Simpsons' rise to the TV pantheon is its very first clip show. What Homer says about donuts in "Monorail" holds true as well for The Simpsons itself: is there anything this show can't do? --Donald Liebenson
Like a skidmark through history the Edmund Blackadders left an indelible dirty stain on every era they passed through. No one knows where the notorious Blackadder family originated from - some say the shallow end of the gene pool others just nod and point to the cess-pit behind the pig-sheds. Every new era produces a more contemptuous Edmund Blackadder each incarnation bearing a striking resemblance to the last carrying forward the family traditions of cowardice treachery and political corruption. Accompanying each generation of Edmund Blackadders is the 'Baldrick' family a loyal breed of human pack-animal and the byword for all things stupid.
Derivative fluff from 1987, The Secret of My Success is made tolerable by its bawdy exuberance and an appealing performance by Michael J Fox, who was still enjoying TV stardom and the career momentum he earned by travelling Back to the Future. Here he plays a Kansas farm boy who dreams of scoring big in New York City... but reality turns out to be brutal to his ambition. When his uncle (Richard Jordan) gives him a mail-room job in the high-rise headquarters of a major corporation, Fox occupies an empty office and poses as a young executive, winning the attention of a lovely young colleague (Helen Slater) and having an affair with his boss's wife (Margaret Whitton). Sporadically amusing as a yuppie comedy and rather off-putting as a wannabe sex farce, the film's still recommendable for its lively cast and a breezy style that almost succeeds in updating the conventions of vintage screwball comedy. Whitton is a standout performer here, so you may wonder why her comedic talent has been underrated, apart from a good role in the first two Major League movies. This may be little more than a big-screen sitcom, but it's not without its charms. --Jeff Shannon, Amazon.com
The directorial debut of Olivia Wilde and starring Beanie Feldstein (Lady Bird), Kaitlyn Dever (Detroit) and Jason Sudeikis (Horrible Bosses), this hilarious and heartfelt comedy follows two academic superstars and best friends who, on the eve of their high school graduation, suddenly realise that they should have worked less and played more. Determined never to fall short of their peers, the girls set out on a mission to cram four years of fun into one night. Bonus Features Commentary with Director Olivia Wilde Deleted Scenes: Booksmart:The Next Best High School Comedy Plies and Jazz Hands: The Dance Fantasy Dressing Booksmart Photo Gallery
Hilarious comedy starring Jada Pinkett Smith, Queen Latifah, Tiffany Haddish, Regina Hall and Kate Walsh. When four lifelong friends travel to New Orleans for the annual Essence Festival, sisterhoods are rekindled, wild sides are rediscovered, and there's enough dancing, drinking, brawling, and romancing to make the Big Easy blush.
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