|
Showing 1 - 25 of
31 matches in All Departments
Frantic (1988)
American doctor Richard Walker checks into a Paris hotel with his wife Sondra to attend a conference and celebrate their wedding anniversary. However, shortly after arriving at the hotel Sondra disappears and soon Richard is plunged into a nightmare kidnap scenario, roaming the streets of Paris trying to find a lead in the search for his missing wife. His only clue comes in the form of drugged-up young punk Michelle.
Presumed Innocent (1990)
Based on the bestseller by Scot Turow, Rusty Sabich is an attorney who finds himself charged with murder. The victim was a colleague of his with whom he had a brief but intense affair and Rusty finds himself in need of a defence lawyer.
The Fugitive (1993)
Based on the 1960s American television series, eminent Chicago surgeon Dr Richard Kimble, married to wealthy heiress Helen, arrives home one night to find his wife murdered and a one-armed man in his house. Due to incriminating evidence and prime motivation, Kimble is wrongly convicted for murder. However, on his way to death row he is involved in a spectacular train crash that precipitates his escape. Kimble then strives to prove his innocence whilst staying one step ahead of the dogged US Marshal Sam Gerard.
Firewall (2006)
Jack Stanfield is an average family man in Seattle who heads up the hi-tech security team at his local bank. But following a seemingly trivial case of identity theft, Jack's life is turned upside down when his wife and two children are kidnapped. The ransom is $100 million which the kidnappers, led by Bill Cox, want Jack to obtain for them via his expert computer skills. Initially compliant, Jack is soon irked by Cox and his cronies to the point where he decides to risk everything to get his family back and bring the bad guys to justice.
42 (2013)
A biographical drama about African-American baseball player Jackie Robinson, here portrayed by the late Chadwick Boseman. In 1945, having been spotted by a scout, Robinson is signed by Brooklyn Dodgers general manager Branch Rickey and becomes the first black man to play in the Major League. Despite his talent, Robinson is met with opposition, even from his fellow players, because of his race. As he tries to keep his own frustrations in check, he excels in his sport and gradually receives the recognition he deserves.
|
Lizard in a Woman's Skin (DVD)
Florinda Bolkan, Stanley Baker, Jean Sorel, Silvia Monti, Alberto de Mendoza, …
|
R233
R217
Discovery Miles 2 170
Save R16 (7%)
|
Out of stock
|
1970s 'giallo' Euro-horror written and directed by Lucio Fulci.
Florinda Bolkan stars as Carol Hammond, a troubled young woman who
experiences a series of bizarre sexual dreams in which she indulges
in perverse sexual activities with her neighbour Julia Durer (Anita
Strindberg). When Julia later turns up dead, brutally stabbed in
her apartment in exactly the way it happened in Carol's dream,
Carol must try to distinguish between dreams and reality in order
to solve the crime and prove that she is not the murderer - despite
the fact that all the evidence points to her.
|
The Bible: Jacob (DVD)
Matthew Modine, Lara Flynn Boyle, Sean Bean, Joss Ackland, Juliet Aubrey, …
|
R157
Discovery Miles 1 570
|
Out of stock
|
Made-for-television biopic, directed by Peter Hall, about the
famous Biblical character. Jacob (Matthew Modine) and Esau (Sean
Bean) are two brothers fighting for their father's affection and
inheritance, driven to war, enmity, and eventual reconcilliation.
Also featuring performances from Lara Flynn Boyle and Joss Ackland.
Ennio Morricone has scored over 500 films, and as he himself says
in the brief liner notes, only 30 of them were Westerns. He's
unlikely to ever shake the legacy of spaghetti Western scores that
first brought him wide attention in the States, but it is nice to
see a collection that broadens the scope of his work a bit.
Morricone High picks the best moments from a handful of European
films that the composer scored from 1969 to 1971 in a number of
genres, none of them Westerns either. It manages to retain all of
the tension that made his best known work so great and captivating,
while adding more of the mod and psychedelic elements that were
fermenting in the greater cultural brew of the times. Breezy,
romantic mod as heard on the brittle Morricone High opener "Excuse
Me, Let's Make Love?" and the more straightforward "Take Me Now,"
both tunes that will sit well with fans of the Free Design and
Serge Gainsbourg. They also bring attention to one of Morricone's
greatest signatures, the wordless vocals (often voiced by one of
his chief muses, Edda Dell'Orso) anchoring his subtle, rich
arrangements that rode shotgun. It can be heard again on the
relaxed, introspective "A Lidia" and the orchestral pop psych of
"La Bamola." Psychedelic music takes many shades in Morricone's
work, from the obvious charge of fuzz wah-wah guitar in the go-go
number "Allegretto per Signora" to the icy, tense harpsichord and
cascading chimes of "Astratto 1" (aka "Abstract 1," why some of
these titles are translated and others not isn't clear) and "Le
Fotographie." Clearly there's a lot going on in this little
collection! It's a tastefully selected introduction to Morricone's
non-Western soundtracks that doesn't overlap with any of the other
established winners in that field. With so many Morricone scores
yet to be pillaged, this should be the first in a very long line of
Morricone Highs. ~ Wade Kergan
With nearly 400 scores to his credit, Ennio Morricone is one of the
most prolific and influential film composers working today. He has
collaborated with many significant directors, and his scores for
such films as The Good, the Bad, and the Ugly; Once Upon a Time in
America; Days of Heaven; The Mission; The Untouchables; Malena; and
Cinema Paradiso leave moviegoers with the conviction that something
special was achieved a conviction shared by composers, scholars,
and fans alike. In Composing for the Cinema: The Theory and Praxis
of Music in Film, Morricone and musicologist Sergio Miceli present
a series of lectures on the composition and analysis of film music.
Adapted from several lectures and seminars, these lessons show how
sound design can be analyzed and offer a variety of musical
solutions to many different kinds of film. Though aimed at
composers, Morricone s expositions are easy to understand and
fascinating even to those without any musical training. Drawing
upon scores by himself and others, the composer also provides
insight into his relationships with many of the directors with whom
he has collaborated, including Sergio Leone, Giuseppe Tornatore,
Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the
Taviani Brothers, and others. Translated and edited by Gillian B.
Anderson, an orchestral conductor and musicologist, these lessons
reveal Morricone s passion about musical expression. Delivered in a
conversational mode that is both comprehensible and interesting,
this groundbreaking work intertwines analysis with practical
details of film music composition. Aimed at a wide audience of
composers, musicians, film historians, and fans, Composing for the
Cinema contains a treasure trove of practical information and
observations from a distinguished musicologist and one of the most
accomplished composers on the international film scene."
With nearly 400 scores to his credit, Ennio Morricone is one of the
most prolific and influential film composers working today. He has
collaborated with many significant directors, and his scores for
such films as The Good, the Bad, and the Ugly; Once Upon a Time in
America; Days of Heaven; The Mission; The Untouchables; Malena; and
Cinema Paradiso leave moviegoers with the conviction that something
special was achieved-a conviction shared by composers, scholars,
and fans alike. In Composing for the Cinema: The Theory and Praxis
of Music in Film, Morricone and musicologist Sergio Miceli present
a series of lectures on the composition and analysis of film music.
Adapted from several lectures and seminars, these lessons show how
sound design can be analyzed and offer a variety of musical
solutions to many different kinds of film. Though aimed at
composers, Morricone's expositions are easy to understand and
fascinating even to those without any musical training. Drawing
upon scores by himself and others, the composer also provides
insight into his relationships with many of the directors with whom
he has collaborated, including Sergio Leone, Giuseppe Tornatore,
Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffe, the
Taviani Brothers, and others. Translated and edited by Gillian B.
Anderson, an orchestral conductor and musicologist, these lessons
reveal Morricone's passion about musical expression. Delivered in a
conversational mode that is both comprehensible and interesting,
this groundbreaking work intertwines analysis with practical
details of film music composition. Aimed at a wide audience of
composers, musicians, film historians, and fans, Composing for the
Cinema contains a treasure trove of practical information and
observations from a distinguished musicologist and one of the most
accomplished composers on the international film scene.
|
You may like...
Gloria
Sam Smith
CD
R407
Discovery Miles 4 070
|