Amazon.co.uk Review
The word “vampire” is never mentioned in Near Dark, but that doesn’t stop this 1987 cult favourite from being one of the best modern-era vampire films. It put then-unknown director Kathryn Bigelow on Hollywood’s radar and gave choice roles to Aliens costars favoured by Bigelow’s ex-husband James Cameron–Lance Henriksen is the leader of a makeshift family of renegade bloodsuckers, nocturnally seeking victims in rural Oklahoma; his immortal gal pal is Aliens and T2 alumnus Jenette Goldstein; and Bill Paxton is the group’s deadliest leather-clad ass kicker. Fellow traveller Jenny Wright lures Okie farm boy Adrian Pasdar into the group with a love bite and he’s soon turning toward vampirism with a combination of frightened revulsion and relentless desire. With Joshua Miller as the youngest vampire, Near Dark is Bigelow’s masterpiece of low-budget ingenuity–a truck-stop thriller that begins well, gets better and better (aided by a fine Tangerine Dream score) and goes out in a blaze of glory. –Jeff Shannon

Near Dark

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Amazon.co.uk Review
It must be stressed that despite the fact that it was produced in 1973 and stars both Christopher Lee and Britt Ekland, The Wicker Man is not a Hammer Horror film. There is no blood, very little gore and the titular Wicker Man is not a monster made out of sticks that runs around killing people by weaving them into raffia work. Edward Woodward plays Sergeant Howie, a virginal, Christian policeman sent from the Scottish mainland to investigate the disappearance of young girl on the remote island of Summer Isle. The intelligent script by Anthony Schaffer, who also wrote the detective mystery Sleuth (a film with which The Wicker Man shares many traits), derives its horror from the increasing isolation, confusion and humiliation experienced by the naïve Howie as he encounters the island community’s hostility and sexual pagan rituals, manifested most immediately in the enthusiastic advances of local landlord’s daughter Willow (Britt Ekland). Howie’s intriguing search, made all the more authentic by the film’s atmospheric locations and folkish soundtrack, gradually takes us deeper and deeper into the bizarre pagan community living under the guidance of the charming Laird of Summer Isle (Lee, minus fangs) as the film builds to a terrifying climax with a twist to rival that of The Sixth Sense or Fight Club. –Paul Philpott

The Wicker Man

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Amazon.co.uk Review
Black comedies don’t come much blacker than cult favourite, Harold and Maude (1972), and they don’t come much funnier either. It seems that director Hal Ashby was the perfect choice to mine a load of eccentricity from the original Colin Higgins script, about the unlikely romance between a death-obsessed 19-year-old named Harold (Bud Cort) and a life-loving 79-year-old widow named Maude (Ruth Gordon). They meet at a funeral, and Maude finds something oddly appealing about Harold, urging him to “reach out” and grab life by the lapels as opposed to dwelling morbidly on mortality. Harold grows fond of the old gal–she’s a lot more fun than the girls his mother desperately tries to match him up with- -and together they make Harold and Maude one of the sweetest and most unconventional love stories ever made. Much of the early humour arises from Harold’ s outrageous suicide fantasies, played out as a kind of twisted parlour game to mortify his mother, who has grown immune to her strange son’s antics. Gradually, however, the film’s clever humour shifts to a brighter outlook and finally arrives at a point where Harold is truly happy to be alive. Featuring soundtrack songs by Cat Stevens, this comedy certainly won’t appeal to all tastes (it was a box-office flop when first released), but if you’re on its quirky wavelength, it might just strike you as one of the funniest films you’ve ever seen. –Jeff Shannon, Amazon.com

Harold and Maude

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Product Description
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2 X Genuine Sony Ericsson Two Port Standard Charger CST-75 … For C702i, C902, C905, D750i, F305, G502, G700, G900, J100i, J110i, J120i, J220i, J230i, K200i, K220i, K310i, K320i, K330, K510i, K530i, K550i, K610i, K630i, K660i, K750i, K770i, K790i, K800i, K810i, K850i, M600i, P1i, P990i, R300, R306, S302, SE S500i, SE Z320i, T250i, T270i, T280i, T303, T650i, T700, V630, V640i, W200i, W300i, W302, W350i, W380i, W550i, W580i, W595, W610i, W660i, W705, W710i, W715, W760i, W800i, W810i, W850i, W880i, W890i, W900i, W902, W910i, W950i, W960i, W980i, Z250i, Z310i, Z520i, Z530i, Z550i, Z555i, Z558i, Z610i, Z710i, Z770i, Z780i

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Amazon.co.uk Review
Paul Newman and his Butch Cassidy director, George Roy Hill, made a very original comedy in this 1977 story of an over-the-hill player/coach (Newman) for a lousy hockey team who gets results when he teaches his players to get dirty. One of the most hilariously profane movies ever to come out of Hollywood, this is the kind of film that makes its own rules as it goes along. Newman is very good, and while Hill goes for the gusto in terms of capturing the violence of this world, his instinct for comedy has never been sharper. Great support from Strother Martin, Paul Dooley, and the rest. –Tom Keogh, Amazon.com

Slap Shot

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Amazon.co.uk Review
John Woo’s forays into Hollywood cinema have revealed just how childish a lot of his material can feel when it is delivered without the clouding medium of subtitles. In his earlier Hong Kong movies it is possible to allow that the melodramatic, risible and at times confusing dialogue–a disgruntled gangster exclaims “Nobody dares not give me face!” and after being shot about 43 times two of the heroes concede “Yes. We’re not right”–is at least in part due to clumsy translation. However, when added to a complex plot of twin brothers, undercover cops and honourable gangsters in A Better Tomorrow II, it can often be quite difficult to keep track of what is going on, especially if you haven’t seen the original. Restaurant owner Ken (Chow Yun Fat), “secret” twin brother of the dead main character of the first movie, leaves New York and returns to Hong Kong after an old friend’s daughter is murdered. There he re-assembles the group of four heroes from the original movie to exact revenge and bring down a counterfeiting ring. The film loosely addresses Woo’s pet themes of loyalty, betrayal and honour but, as always, any exposition is merely the excuse for a series of violent and over-the-top shoot-outs. Here the action is a long time coming, but delivers much as you would expect–violent, explosive and with a nice line in tongue-in-cheek humour. Yun Fat is cool as ever, with shades and a toothpick, gliding through scores of faceless, blood-splattered henchmen with a gun in each hand. In fact, the final bloodbath is so frenetic that it seems to lack the deliberate and graceful choreography of other Woo classics, such as Hard Boiled and The Killer, but A Better Tomorrow II is typical enough of his work to easily satisfy all but the most unforgiving action fans. –Paul Philpott

A Better Tomorrow

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Amazon.co.uk Review
All films take a certain suspension of disbelief. Fight Club takes perhaps more than others, but if you’re willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn’t actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiralling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club grows into a nationwide fascist group that escapes the protagonist’s control. Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. –Jenny Brown

Fight Club

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Amazon.co.uk Review
A volatile, toxic potion of satire and nihilism, road movie and science fiction, violence and comedy, the unclassifiable sensibility of Alex Cox’s Repo Man is the model and inspiration for a potent strain of post-punk American comedy that includes not only Quentin Tarantino (Pulp Fiction), but also early Coen brothers (Raising Arizona, in particular), Men in Black, and even (in a weird way) The X-Files. Otto, a baby-face punk played by Emilio Estevez, becomes an apprentice to Bud (Harry Dean Stanton), a coke-snorting, veteran repo-man-of-honour prowling the streets of a Los Angeles wasteland populated by hoods, wackos, burnouts, conspiracy theorists, and aliens of every stripe. It may seem chaotic at first glance, but there’s a “latticework of coincidence” (as Tracey Walter puts it) underlying everything. Repo Man is a key American movie of the 1980s–just as Taxi Driver, Nashville, and Chinatown are key American movies of the ’70s. With a scorching soundtrack that features Iggy Pop, Fear, Black Flag, Circle Jerks, and Suicidal Tendencies. –Jim Emerson

Repo Man

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Amazon.co.uk Review
The years have endowed Saturday Night Fever with a powerful, elegiac quality since its explosive release in 1977. It was the must-see movie for a whole generation of adolescents, sparking controversy for rough language and clumsily realistic sex scenes which took teen cinema irrevocably into a new age. And of course, it revived the career of the Bee Gees to stratospheric heights, thanks to a justifiably legendary soundtrack which now embodies the disco age. But Saturday Night Fever was always more than a disco movie. Tony Manero is an Italian youth from Brooklyn straining at the leash to escape a life defined by his family, blue collar job and his gang. Disco provides the medium for him to break free.

It was the snake-hipped dance routines which made John Travolta an immediate sex symbol. But seen today, his performance as Tony is compelling: rough-hewn, certainly, but complex and true, anticipating the fine screen actor he would be recognised as 20 years later. Scenes of the Manhattan skyline and the Brooklyn Bridge, representing Tony’s route to a bigger world, now have an added poignancy, adding to Saturday Night Fever‘s evocative power. It’s a bittersweet classic.

On the DVD: Saturday Night Fever is presented in 2.35:1 anamorphic widescreen with a Dolby Digital 5.1 surround soundtrack, both of which help to recapture the unique atmosphere of the late 1970s. The main extra is a director’s commentary from John Badham, with detailed descriptions of casting and the improvisation behind many of the scenes, plus the unsavoury reality behind Travolta’s iconic white disco suit. –Piers Ford

Saturday Night Fever

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Amazon.co.uk Review
You either love Russ Meyer’s garishly sexist movies about bodacious babes and horny men or you find them utterly disgusting. The response to his work is that clear-cut. Beyond the Valley of the Dolls, which features a screenplay by critic Roger Ebert, barely qualifies as a sequel to the film based on Jacqueline Susann’s trashy bestseller. Rather, it’s a broad, trashy remake on its own terms about what happens to a trio of female rock musicians when they leave the Midwest and head for Hollywood. Sex, drugs, murder–the only thing it doesn’t have is cannibalism, the gold standard when it comes to trashy entertainment. –Marshall FineEND

Beyond the Valley of the Dolls

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