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The Limey [1999]

The Limey [1999]

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Two icons of 60s cinema, Terence Stamp and Peter Fonda, go head-to-head in Steven Soderbergh's stylish reworking of the lone avenger theme. Stamp plays Wilson, an ageing Cockney villain newly out of jail, who arrives in Los Angeles to ask some awkward questions. His beloved daughter, mistress of powerful rock promoter Terry Valentine (Fonda), has died in a car crash; but Wilson's far from convinced it was an accident. With his gaunt, grim features and sparse white hair, Stamp's a dead ringer for the angel of death. Or maybe, as Soderbergh hints with some intricate flashback and flash-forward cutting, the whole story is a dying man's dream of vengeance. Echoes of Get Carter and Point Blank aren't far to seek. Though it's tense, gripping and often funny--Wilson's rhyming-slang dialogue bemuses every American he meets-- The Limey is shot through with an aching sense of loss and wasted years. The final showdown between Wilson and Valentine feels like the epitaph of an era once rich in dreams. Some of the film's most poignant moments are its "flashbacks" to Wilson's younger days, which are actually clips from Ken Loach's 1967 movie Poor Cow, featuring the twentysomething Stamp, insolently and heart-breakingly beautiful. -- Philip Kemp
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The Limey [1999]
Men Behaving Badly - Series 5 [1992]

Men Behaving Badly - Series 5 [1992]

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The ultimate small-screen representation of Loaded-era lad culture--albeit a culture constantly being undermined by its usually sharper female counterpart--there seems little argument that Men Behaving Badly was one of 1990s' definitive sitcoms. Certainly the booze-oriented, birds-obsessed antics of Martin Clunes' Gary and Neil Morrissey's Tony have become every bit as connected to Britain's collective funny bone as Basil Fawlty's inept hostelry or Ernie Wise's short, hairy legs. Yet, the series could easily have been cancelled when ITV viewers failed to respond to the original version, which featured Clunes sharing his flat with someone named Dermot, played by Harry Enfield. Indeed, it was only when the third series moved to the BBC and was then broadcast in a post-watershed slot--allowing writer Simon Nye greater freedom to explore his characters' saucier ruminations--that the show began to gain a significant audience. By then, of course, Morrissey had become firmly ensconced on the collective pizza-stained sofa, while more screen time was allocated to the boys' respective foils, Caroline Quentin and Leslie Ash. Often glibly dismissed as a lame-brained succession of gags about sex and flatulence, the later series not only featured great performances and sharp-as-nails writing but also sported a contemporary attitude that dared to go where angels, and certainly most other sitcoms, feared to tread. Or, as Gary was once moved to comment about soft-porn lesbian epic Love in a Women's Prison: "It's a serious study of repressed sexuality in a pressure-cooker environment." Series 5 includes: "Hair" in which Tony returns from holiday to discover Dorothy has convinced Gary she should move in. And that Tony should move out; "The Good Pub Guide" in which our heroes are dismayed when The Crown gets a new look and new landlord ( The Fast Show's John Thomson). Tony rescues the pub's old condom machine as a present for Deborah ("I thought it was something we could enjoy together."); "Cowardice" in which Tony becomes
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Men Behaving Badly - Series 5 [1992]
Human League - The Very Best Of

Human League - The Very Best Of

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Digitally remastered and released on DVD for the first time, most of Phil Oakey and pals' greatest hits are included on The Very Best of the Human League. With their heavy eye make-up, bizarre hair-styles and generally dodgy fashion sense, few people could have predicted back in the early 1980s that the group would become long-standing pop and style icons. Opening with the simple promos for experimental tracks "Circus of Death" and "Empire State Human", the videos evolve in budget and sophistication, reflecting the band's growing popular success and the general development of the pop video as a genre. Some of the early promos attempt pastiches of popular film and television productions: "Love Action (I Believe in Love)" is a take on The Graduate, while "Don't You Want Me" appears to have been shot on the set of Jersey-based detective series Bergerac. Heralding the arrival of the Quantel Paintbox--the ground-breaking televisual special effects generator--the "Open Your Heart" promo incorporates a variety of tacky special effects, which may have looked great on Swap Shop in 1981, but now look remarkably ridiculous. The lesser-known video for the Jimmy Jam and Terry Lewis-produced track "I Need Your Loving" and the retrospective video montage for their 1998 Greatest Hits collection track "Love is All That Matters" also oddly make it on to this compilation. The videos for the non-Virgin Record singles are included, too ("Tell Me When", "One Man in My Heart" and "All I Ever Wanted"), with "One Man in My Heart" providing a step-by-step guide to making a cappuccino. On the DVD: The Very Best of The Human League has been mastered effectively overall, with the visual and audio quality of the 1981 promo for "Love Action" being particularly crisp. The Top of the Pops and Later... performances provide an added perspective on the evolution of the band, and the interview with Phil, Joanne and Susan supplies a further comprehensive and accessible overview of their past and future development. -- John Galilee
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Human League - The Very Best Of
Shania Twain - Live [1998]

Shania Twain - Live [1998]

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For erstwhile "new country" outsider Shania Twain, the commercial impact of her first live video doubtless carries the sweet smell of revenge. Twain's mid-1990s breakthrough, fuelled by formidable production polish and carefully groomed videos, conspicuously delayed live shows until long after the expatriate Canadian's success crossed into platinum territory--an omission that prompted some sceptics to theorise the would-be megastar's talent was accomplished through studio legerdemain. Shania Twain Live may benefit from plenty of polish and more than a little calculation in its staging, but the singer/songwriter's long apprenticeship in lounge bands and resort revues north of the border is apparent. Whether one loves or loathes her songs, Twain herself comes across as a seasoned performer who knows how to work the audience. Equally apparent, and equally unlikely to resolve the division between fans and foes, is Twain's crossover agenda. Scaled for the arenas that Twain and her handlers targeted early on, the concert is closer in pace and power-chords to a mainstream rock show than most country acts, an orientation that aligns the star with Garth Brooks's swaggering attack rather than most country songstresses. Her band may boast three fiddlers, but their slashing attack emulates the kilowatt buzz of the rock guitarists that share the scrim, who pull off familiar string-bending flourishes. As for the front woman, in her electric-green leopard-print top, hip-hugging pants, and meticulously permed, waist-length hair, she resembles some improbably aerobicised white Rastafarian. The set list is a generous one, reproducing most of Twain's back-to-back platinum albums, and illustrates her skill at mixing melting ballads, flirtatious rockers that enable her to strut her physical beauty, and songs testifying to her self-reliance. Still, for all Twain's assertions that she won't suffer fools gladly, the songs ultimately reveal a traditional romanticism with a moderate, post-feminist spark. One need only check out the power
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Shania Twain - Live [1998]
DVD: Bobby

DVD: Bobby

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Året er 1968. Krigen raser i Vietnam, Robert Kennedyholder sin famøse tale, hvor han siger, at USA aldrig kanvinde krigen. Studenteroprør lammer Paris, oprør ulmer iPrag, de sortes menneskeretsforkæmper Martin LutherKing er netop blevet skudt, musicalen Hair sættes op iNew York og Simon og Garfunkel ligger nr. 1 på hitlisternemed Mrs. Robinson.Der er forandring og oprør i luften. Robert Kennedy stillerop som demokraternes præsidentkandidat, og skal holdeet vigtigt konvent på The Ambassador Hotel i Los Angeles.Hele hotellet står på den anden ende, og vi følger 22personer, som alle befi nder sig på hotellet den dag. Der erden utro direktør, den pensionerede dørmand, som ikkekan slippe jobbet, to unge, der skal giftes, en alkoholiseretnatklubsangerinde, to unge kampagnemedarbejderesom oplever deres første syretrip. 22 mennesker, hvis livberøres dybt, da Kennedy brutalt bliver skudt ned påhotellet.
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DVD: Bobby
The Astronaut's Wife [1999]

The Astronaut's Wife [1999]

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An intriguingly creepy premise but failed execution marks The Astronaut's Wife, a stylish and ultimately bland thriller about a pretty, young woman whose pretty, young astronaut husband comes back from his most recent space mission a little... odd. Before that fated space trip, Spencer (Johnny Depp) and Jillian (Charlize Theron) were a sunny, happy couple with matching blonde hairdos and a predilection for romping in the sack from extremely clever camera angles. However, after a communications blackout brings Spencer and his partner back down to earth prematurely, things are a little... peculiar. Spencer's partner goes bonkers and has a heart attack; on top of that, the partner's wife takes a fatal shower with a plugged-in radio. Getting out of the space biz, Spencer accepts a job as a corporate exec in New York, and as a welcome to the Big Apple for his comely wife, he molests her at the company cocktail party. Soon enough, Jillian is pregnant, but as you might expect, this pregnancy (twins, don't you know) is a little... unusual. Writer-director Rand Ravich takes his sweet time getting from extremely obvious plot point A to even more obvious plot point B, stretching out the development particulars in mind-numbing, suspense-killing fashion. Even Joe Morton, as a sinisterly psychotic NASA official, can't liven things up--you know you're in bad thriller territory when the biggest scare comes from a light suddenly being switched off. Theron, sporting a Mia Farrow in Rosemary's Baby style haircut, sleepwalks beautifully through the movie, but she did this role much, much better in The Devil's Advocate. Depp, with a cornpone Southern accent, is about as realistic as his peroxided hair. Ravich does the viewer no favours with a hackneyed ending straight out of a B-grade paperback horror novel in which the most shocking moment is Theron's sudden emergence as a brunette. With Blair Brown as a jaded socialite who offers to help out Theron by providing do-it-yourself abortion pills, and a lovely Donna Murphy as the sui
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The Astronaut's Wife [1999]
Moonstruck [1987]

Moonstruck [1987]

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Remember the outfit Cher wore to the Oscars when she won an Academy Award for her performance in this 1987 film? Ay-yi-yi. The actress' more retiring character in this infectious comedy leaps several psychological hurdles just giving her hair a permanent. But then the original screenplay of Moonstruck, by John Patrick Shanley ( Joe Versus the Volcano), is a wonderful, gently satirical tale of an Italian-American family dealing with repression and dissatisfaction against a backdrop of cultural expectations. Cher is focused and funny as a widow who feels she should marry an older fellow (Danny Aiello), but then falls for his black-sheep brother (Nicolas Cage). Olympia Dukakis and Vincent Gardenia are perfect as her parents, and John Mahoney (of TV's Frasier) has a memorable, small role as a middle-aged man on the make who gets a lecture from Dukakis's character. Shanley's dialogue is comically stylised in a way that makes one appreciate how much words can inform an actor's performance. Taking its cues from him and director Norman Jewison ( And Justice for All), the cast immerse themselves in a pool of hilariously operatic emotion. --Tom Keogh
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Moonstruck [1987]
Allan Quatermain And The Lost City Of Gold [1986]

Allan Quatermain And The Lost City Of Gold [1986]

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Allan Quatermain and the Lost City of Gold had the task of bettering its hilarious predecessor, King Solomon's Mines. It failed. Looking back from the age of slick computer graphics, it's painfully distracting to spot obvious back-projection, shoddy miniatures and some of the worst wire-work ever. Instead one must concentrate on the easy chemistry between Richard Chamberlain and Sharon Stone reprising their roles, this time in a quest for Quatermain's lost brother. Together they traipse across Africa, encountering all the usual pitfalls (literally) as well as jungle animals, restless native tribes and fast-flowing rivers and so on. James Earl Jones takes the money and runs through his wooden dialogue, all the time backed by endless repetitions of Jerry Goldsmith's sub- Indiana Jones hero theme. Taken on its own it's pretty atrocious viewing, but played back-to-back with the first movie The Lost City of Gold's surreal self-contained universe of hilarious adventure movie clichés is a lot of fun. Sharon Stone's hair remains perfect throughout, of course. On the DVD: Allan Quatermain and the Lost City of Gold, like King Solomon's Mines, is presented on disc in a surprisingly pristine print, and in 2.35:1 widescreen. Also like its predecessor, the sound is in Dolby 2.0, which again reflects the limited number of spot effects layered into the soundtrack. The original trailer is the only extra feature. -- Paul Tonks
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Allan Quatermain And The Lost City Of Gold [1986]
DVD: Prince In Concert - Rave Un2 The Year 2000

DVD: Prince In Concert - Rave Un2 The Year 2000

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01 - Let's Go Crazy 02 - She's Always In My Hair 03 - Uve Got The Look 04 - Kiss 05 - Jungle Love 06 - The Bird 07 - American Woman (Lenny Kravitz) 08 - Fly Away (Lenny Kravitz) 09 - Get Off 10 - Medley (Rosie Gaines, Mike Scott, Maceo Parker) 11 - It's Alright 12 - Everyday People (Cynthia Robinson & Gerry Martini) 13 - Higher 14 - Purple Rain 15 - The Christ 16 - Blues Medley 17 - Nothing Compares 2 U 18 - Take Me With U / Raspberry Beret 19 - Greatest Romance 20 - Baby Knows 21 - 1999 Intro 22 - Baby I'm A Star 23 - 1999
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DVD: Prince In Concert - Rave Un2 The Year 2000
Friends - Series 2 - Episodes 17-24 [1995]

Friends - Series 2 - Episodes 17-24 [1995]

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Season 2: Unfortunately, Rachel's brave intention to announce her feelings is scuppered in the season opener "T.O.W. Ross' New Girlfriend". It doesn't matter how great her hair looks (a real-life accident when a friend cut it with a razor), or how many sneaky tricks she tries to separate them. Ultimately it takes a peculiar doppelganger to lure the new girl away in "T.O.W. Russ" (Schwimmer credited as "Snaro"). The Friends couldn't be happier to have the angst and tension relieved, and "T.O.W. Ross and Rachel ... You Know" is unsurprisingly an all-time fan favourite. This was straightforward compared to the other side of Ross' love life in "T.O.W. the Lesbian Wedding" though. Initiating another will-they/won't-they subplot was the introduction of Richard (Tom Selleck) as a new flame for Monica. Highlights for the other characters all centred on the Emmy-winning two-part "T.O. W. After the Super Bowl" with a stunning cameo list including Brooke Shields, Chris Isaak, Dan Castellaneta (Homer from The Simpsons), Jean-Claude Van Damme and Julia Roberts (whom Perry subsequently dated a short while). Another great highlight was Chandler and Joey's ineptitude in "T.O.W the Baby on the Bus", which also featured Chrissie Hynde giving Phoebe's "Smelly Cat" its best ever rendition on guitar. To leave viewers hanging, the year ended with Rachel in understandable uncertainty over "T.O.W. Barry and Mindy's Wedding" (her ex-fiancé and ex-best friend). -- Paul Tonks
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Friends - Series 2 - Episodes 17-24 [1995]
About a Boy [2002]

About a Boy [2002]

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The film version of Nick Hornby's novel About a Boy takes a deeper though no less entertaining approach than the easy laughs of Fever Pitch and High Fidelity. The "coming together" of idle playboy Will (Hugh Grant) and put-upon loner Marcus (Nicholas Hoult) is a revealing tale of self-understanding and role reversal. Will finds that being yourself is of little consequence without a defining human context, while Marcus finds that pleasing others counts for little without a degree of self-confidence. How they arrive at this complementary awareness is the intriguing subject matter of the film, involving well-meaning single mothers, difficult adolescents and helpless older adults. Yet there's a wider significance to all this in the guise of human stereotypes--how we fall into them and how we can try to get out of them. The film's wit and amusement comes down to deft and understated directing from Chris and Paul Weitz, and a snappily crafted screenplay from Peter Hedges and the Weitz brothers. Grant clips his hair as well as his vowels for a believable and ultimately sympathetic Will--by far his best performance since Four Weddings and a Funeral. As Marcus, Hoult is convincingly self-dependent, but could have been even more self-absorbed. Toni Colette is a dead-ringer for the well-meaning but ineffectual hippie mother Fiona, while Rachel Weisz gives her best screen performance to date as the attractive and vulnerable Rachel, with whom Will comes of age emotionally. Badly Drawn Boy's soundtrack will delight those who enjoy his brand of reconstituted 1970s Dylan; the title track has a wistful charm and there's a gem of an instrumental in the "Countdown" sequence. About a Boy is in the best traditions of British comedy: enlightening as it amuses, it's a film to enjoy and come back to. -- Richard Whitehouse
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About a Boy [2002]
The 80s Movie Club - For Tough Guys - Platoon/Raging Bull/Rain Man/Die Hard/Terminator

The 80s Movie Club - For Tough Guys - Platoon/Raging Bull/Rain Man/Die Hard/Terminator

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Winning a raft of awards, not least of which were four Oscars, including Best Picture and Best Director, Oliver Stone's Platoon was a box-office smash heralding Hollywood's second wave of Vietnam war films. Platoon simply showed the daily reality of the war from the point of view of ordinary soldiers and Stone's own service in Vietnam gives his work a unique authenticity. Charlie Sheen gives his best performance to date, enduring a series of increasingly large-scale and bloody battles but against this gruelling verity the film falters over the symbolic conflict between good and evil sergeants played by Willem Dafoe and Tom Berenger. Even though this was also based in real life, it strikes a too conventionally Hollywood-like note in a film which otherwise maintains much of the raw power of Stone's other film from 1986, Salvador. Stone would return to Vietnam with the more sophisticated Born on the Fourth of July and Heaven and Earth. The high-point in the long fruitful partnership of Martin Scorsese and Robert De Niro, and widely reckoned one of the finest films of the 1980s, Raging Bull still looks like a contender. Based on the ghosted autobiography of 1940s boxing champion Jake La Motta, it's the most searing, intense and often painful to watch of Scorsese's explorations into the nature of masculinity and macho values. The rise of La Motta, the taut, cocky young fighting machine from the Bronx, is bookended by the scenes in which, as a paunchy, bloated has-been 20 years later, he's reduced to acting out self-pitying monologues in a tawdry Manhattan nightclub. Making their starring debuts, Joe Pesci (as La Motta's long-suffering brother and manager), and Cathy Moriarty as his delicate-featured, abused child-wife, both grab their opportunities with both hands. But the film's dominated from the outset by De Niro's tour de force performance as the brutal, hair-triggered La Motta, viciously lashing out at the world in self-destructive fury. Raging Bull was nominated for eight Oscars and picked up two, one f
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The 80s Movie Club - For Tough Guys - Platoon/Raging Bull/Rain Man/Die Hard/Terminator
No Doubt - The Videos

No Doubt - The Videos

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No Doubt: The Videos 1992-2003 is a neat showcase of the band's transformation (both musically and in image) spanning more than a decade. Behind-the-scenes footage of photo and video shoots and studio sessions recorded on hand-held DV cams by band members are interspersed between the 16 videos in this collection. Videos range from their first-ever shoot for 1992's quirky "Trapped in a Box", in which Gwen had yet to discover the power of platinum blonde, the storming "Hella Good" cowritten by the Neptunes, and their cover of the Talk Talk hit "It's My Life". Something to watch out for is an impromptu jam of "Ex-girlfriend" during a power cut in Jamaica. When it comes to reinvention and experimenting with style, forget Kylie--Gwen Stefani has certainly had fun carving out her own niche, while retaining her credibility; from the pink hair and street chic in her Return of Saturn phase to the platinum-blonde, rouge-lipped 1940s glamour that was her trademark on Tragic Kingdom. Although they may have taken some musical risks ("Oi to the World"?) their core rock, new wave pop and reggae-lite influences have weaved seamlessly through their work. 2001's Rock Steady is a fine example, heavily influenced by time spent in Jamaican dance halls and with contributions from a range of respected producers (Ric Ocasek, Nellee Hooper, Sly & Robbie and William Orbit). Not to mention No Doubt's successful cameos on Moby's "South Side" and Eve's "Let Me Blow Ya Mind". What becomes apparent from watching "A Video Conversation with No Doubt"--one of the bonus features--is the band's sense of team spirit and un-showbiz attitudes, which is probably why they have lasted the course. But their success is not without glitches--there were early group factions when media interest focused on the impossibly photogenic Gwen and ignored fellow bandmates Tony Kanal (bass), Tom Dumont (guitar) and Adrian Young (drums). On the DVD: Bonus features include "A Video Conversation with No Doubt" where the band members talk about the inspiration b
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No Doubt - The Videos
Mudvayne - Live Dosage 50 - Live In Peoria [2001]

Mudvayne - Live Dosage 50 - Live In Peoria [2001]

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Recorded in their home town of Peoria, Illinois in 2001, Live Dosage 50 showcases nu-metal purveyors Mudvayne's live act. Ploughing similar terrain to Slipknot, whom they have supported, Mudvayne's sound is a composite of Kiss-style theatrics (face-paint, spiked-hair), metal, grunge and hardcore. The obsessions that feed into their lyrics include Stanley Kubrick's 2001: A Space Odyssey, the LSD guru Terence McKenna and serial killer Ed Gein, whom they somewhat gormlessly glorify on "Nothing to Gein" ("He didn't give a f*** what anyone said"). While their biography, included here, is packed with warnings about how intense and subversive and toxic they are, for all their influences, Mudvayne come across as rather pat, nu-metal clowns. Even vocalist Kud's constant use of the f-word seems contrived. Although their music has moments of subtlety and shading in the verses, in particular the wheedling style of bassist Rykrow, come the chorus and it's the usual predictable, crashing tsunami of riffery and petulant vocal chundering. Mudvayne pander glibly to the usual legions of suburban green-haired adolescents seething with nihilistic, existential rage at having to tidy up their bedrooms once in a while. On the DVD: Live Dosage 50 on disc is a superb presentation for fans. Well-edited, and using a variety of angles, it highlights the band's undoubted penchant for live theatre. Dolby Digital 5.1 sound quality is fine, although steeped as the band are in dry ice, picture clarity isn't especially an issue here. Extras include a decent "director's cut" of the video for "Death Blooms", a text-only biography that feels like a press release and some dispensable footage of the band cruising around their home town chatting inconsequentially. -- David Stubbs
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Mudvayne - Live Dosage 50 - Live In Peoria [2001]
Raging Bull (Wide Screen) [1981]

Raging Bull (Wide Screen) [1981]

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The high-point in the long fruitful partnership of Martin Scorsese and Robert De Niro, and widely reckoned one of the finest films of the 1980s, Raging Bull still looks like a contender. Based on the ghosted autobiography of 1940s boxing champion Jake La Motta, it's the most searing, intense and often painful to watch of Scorsese's explorations into the nature of masculinity and macho values. The rise of La Motta, the taut, cocky young fighting machine from the Bronx, is bookended by the scenes in which, as a paunchy, bloated has-been 20 years later, he's reduced to acting out self-pitying monologues in a tawdry Manhattan nightclub. The film is shot in crystalline black-and-white, masterfully framed and lit by Michael Chapman, partly as passionate movie-buff Scorsese's response to the way in which classic colour films were at this time being allowed to deteriorate into pinky-mauve travesties of their original rich tones. Making their starring debuts, Joe Pesci as La Motta's long-suffering brother and manager, and Cathy Moriarty as his delicate-featured, abused child-wife, both grab their opportunities with both hands. But the film's dominated from the outset by De Niro's tour de force performance as the brutal, hair-triggered La Motta, viciously lashing out at the world in self-destructive fury. De Niro, who had first suggested the project to Scorsese back in 1973, threw himself into the role with near-demented dedication, submitting to a full year's punishing training programme to gain a boxer's physique and fighting skills--then taking two months off in Europe to stuff himself relentlessly till he had gained 60 lbs to play the slobbish, washed-up ex-champ. It's a performance of scary believability that makes you realise how casually, these days, the actor is coasting through his later career. Raging Bull was nominated for eight Oscars and picked up two, one for De Niro, and one for Thelma Schoonmaker's editing. On the DVD: not much, just the original trailer, and a brief promo for some of MGM's other DVD
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Raging Bull (Wide Screen) [1981]
Fur - An Imaginary Portrait of Diane Arbus [2006]

Fur - An Imaginary Portrait of Diane Arbus [2006]

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Modeled loosely on Patricia Bosworth's 1984 biography, Fur opens with an independent, working Diane Arbus (Nicole Kidman), free of the familial restraints that previously prevented her from making art. Flashing back three months, the viewer comes to learn that she has just left her husband and children to photographically investigate her fetishes through observing the extraordinary. When Lionel (Robert Downey Jr.), a wig-maker who suffers from hypertrichosis, or excessive hair growth, moves into Arbus's apartment building with his entourage and basement full of carnival props, Arbus is seduced by this opportunity to visually feast on freaks. The split with her conventional family becomes inevitable. Confusing love with her desire to make art, Arbus is overwhelmed when Lionel perishes, though its made clear to the viewer that this event provides Arbus necessary artistic impetus. Early scenes establishing Arbus's distaste for society parties, such as the fur fashion show her parents host, her boredom during her husband's dull, ridiculous commercial photo shoots, and her initial fascination with Lionel and his bizarre friends are strange and funny, successfully separating Arbus from the 'average' people surrounding her. But as Lionel and Arbus fall in love, pretentious whispering replaces their regular conversations, and overacting spoils Lionel's death scene, in which they both float dramatically through the ocean, followed by Arbus crying in the surf like a weenie. Arbus desperately huffing air from a life raft Lionel inflated before he died is completely cheesy. The tortured artist myth has, once again, been pushed too far. For a film that has such fine costuming, production design, and cinematography, it's a shame that Fur succumbs to that Hollywood convention of reducing the entire plot to a tragic love story. For a project with so much potential, and with so many Arbus fans eagerly awaiting this tribute to the great photographer, it's unfortunate that Fur falls flat, due mostly to injected sentimental mel
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Fur - An Imaginary Portrait of Diane Arbus [2006]
Charlie's Angels -- Superbit [2000]

Charlie's Angels -- Superbit [2000]

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Happily Charlie's Angels is a surprisingly successful TV-into-movie update of the seminal 1970s jiggle show. Cameron Diaz, Drew Barrymore (who also produced) and Lucy Liu star as the hair-tossing, fashion-setting, kung-fu fighting trio employed by the mysterious Charlie (voiced by the original Charlie, John Forsythe). When a high-tech programmer (Sam Rockwell) is kidnapped, the angels seek out the suspects, with the daffy Bosley (Bill Murray in a casting coup) in tow. A happy, cornball popcorn flick, Charlie's Angels is played for laughs with plenty of ribbing references to the old TV show as well as modern caper films like Mission: Impossible. McG, a music video director making his feature film debut (usually a death warrant for a movie's integrity), infuses the film with plenty of Matrix-style combat pyrotechnics, and the result is the first successful all-American Hong Kong-style action flick. Plenty of movies boast a New Age feminism that has their stars touting their sexuality while being their own women, but unlike something as obnoxious as Coyote Ugly, Angels succeeds with a positive spin on Girl Power for the new millennium (Diaz especially sizzles in her role of crack super agent/airhead blonde). From the send-up of the TV show's credit sequence to the outtakes over the end credits, Charlie's Angels is a delight. -- Doug Thomas, Amazon.com
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Charlie's Angels -- Superbit [2000]
Charlie's Angels [2000]

Charlie's Angels [2000]

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Happily Charlie's Angels is a surprisingly successful TV-into-movie update of the seminal 1970s jiggle show. Cameron Diaz, Drew Barrymore (who also produced) and Lucy Liu star as the hair-tossing, fashion-setting, kung-fu fighting trio employed by the mysterious Charlie (voiced by the original Charlie, John Forsythe). When a high-tech programmer (Sam Rockwell) is kidnapped, the angels seek out the suspects, with the daffy Bosley (Bill Murray in a casting coup) in tow. A happy, cornball popcorn flick, Charlie's Angels is played for laughs with plenty of ribbing references to the old TV show as well as modern caper films like Mission: Impossible. McG, a music video director making his feature film debut (usually a death warrant for a movie's integrity), infuses the film with plenty of Matrix-style combat pyrotechnics, and the result is the first successful all-American Hong Kong-style action flick. Plenty of movies boast a New Age feminism that has their stars touting their sexuality while being their own women, but unlike something as obnoxious as Coyote Ugly, Angels succeeds with a positive spin on Girl Power for the new millennium (Diaz especially sizzles in her role of crack super agent/airhead blonde). From the send-up of the TV show's credit sequence to the outtakes over the end credits, Charlie's Angels is a delight. -- Doug Thomas, Amazon.com
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Charlie's Angels [2000]
Planet Of The Apes - The Television Series [1974]

Planet Of The Apes - The Television Series [1974]

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Set around a dozen years after the 1967 Charlton Heston-starring Oscar winner of the same name, this Planet of the Apes is a 1974 TV spin-off that attempts to recapture the appeal of the original apes films. A second spaceship arrives on the planet, the basic plot being the same as in 67, as two surviving humans go on the run with a renegade chimpanzee, Galen (Roddy McDowell essentially reprising his Cornelius character under another name). The actor provides the strongest lead, while Booth Colman as Zaius (replacing Maurice Evans from the original film), offers fine support. The humans Ron Harper and James Naughton are relatively bland, a buddy duo very much anticipating Starsky and Hutch, while the stories, in which our heroes have a new adventure each week and then move on, fall very much into the formula that dominated earlier shows such as The Fugitive, Star Trek and Alias Smith and Jones. This is a post-apocalyptic world where everyone has perfect hair and make-up. But if the action and effects are limited, at least that gives the stories room to concentrate on some moral debates about the nature of human violence. A show finally hamstrung by the tight limitations of its formula, Planet of the Apes: The Television Series lasted only 14 episodes and was cancelled so abruptly it lacks any resolution. Nevertheless its reappearance offers a welcome chance to reassess it in context with the classic movies it apes. On the DVD: Planet of the Apes: The Television Series is presented on four discs, including all 14 episodes. The sound is good mono and the 4:3 colour picture is excellent considering the show's age. Print damage is minor though occasionally quite noticeable, and there is some fading in a few shots. Otherwise this is the best these shows have ever looked. The only extras are trailers for the movie box set and for Tim Burton's 2001 cinema "reimagining". --Gary S Dalkin
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Planet Of The Apes - The Television Series [1974]
Police Assassins [1985]

Police Assassins [1985]

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Police Assassins combines a mismatched detective buddy movie with Three Stooges-style buffoonery. Making the mixture more unusual still, both detectives are female, Michelle Yeoh ( Magnificent Warriors), in only her second film, joining forces with American martial arts legend Cynthia Rothrock ( China O'Brien), in her then debut, to track down some missing microfilm. After introducing Yeoh in a direct steal from Dirty Harry the plot stagnates as the microfilm falls into the hands of small-time crooks, Asprin (Hoi Mang), Strepsil (John Sham) and Panadol (action movie producer Hark Tsui). Though their physical comedy is ingeniously choreographed the routine rapidly becomes tiresome, far too little space being given to Yeoh and Rothrock. The latter's 1980s' fashions date the movie and the dubbing is dreadful, though entertainment is to be had from a supporting villain who looks strangely like Groucho Marx on a very bad hair day. For martial arts fans the film nevertheless delivers several excellent fight scenes and an inventive and exciting finale. Collectors should know Police Assassins has also been released as In the Line of Duty 2, Super Cops and Yes, Madam, the last of which is actually the English title on this print. -- Gary S Dalkin
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Pris 35.22,-

Police Assassins [1985]
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