My Video Collection
After cataloguing my music collection I thought it was about time I did my films as well. I have listed all sequels alongside their original counterpart so that series can be viewed as one.
Please select a letter to browse by title:
give a feel good factor right
in the middle of the 90's. A teenager moves to a new town right
in the middle of his secondary education & slowly befriends a new
group of fellow hackers. Unfortunately
profile court case brought against him in his younger
years a deceitful hacker turned businessman decides to use him as a
scapegoat for his plan to steal millions of dollars from his
is happening the young hackers harness the support from
hackers the world over & launch all out war against the businessman
in the online enviroment to take him down before he completes his
You'd expect the end of the world to be no day in the park, but in M. Night Shyamalan's The Happening, a day in the park is where the end begins. One otherwise peaceful summer morning, New Yorkers strolling in Central Park come to a halt in unison, then begin killing themselves by any means at hand. At a high-rise construction site a few blocks over, it's raining bodies as workers step off girders into space. And all the while, the city is so quiet you can hear the gentle breeze in the trees. That breeze carries a neurotoxin, and what or who put it there (terrorists?) is a question raised periodically as the film unfolds. But the question that really matters is how and whether anybody in the Middle Atlantic states is going to stay alive. The Happening is Shyamalan's best film since The Sixth Sense, partly because he avoids the kind of egregious misjudgment that derailed The Village and Lady in the Water, but mostly because the whole thing has been structured and imagined to keep faith with the point of view of regular, unheroic folks confronted with a mammoth crisis. Focal characters are a Philadelphia high-school science teacher (Mark Wahlberg, excellent), his wife (Zooey Deschanel) and math-teacher colleague (John Leguizamo), and the latterís little girl (Ashlyn Sanchez). Instinct says get out of the cities and move west; most of the film takes place in the delicately picturesque Pennsylvania countryside, with menace hovering somewhere in the haze. There are no special effects (apart from a wind machine and some breakaway glass), but the movie manages to be deeply unsettling in the matter-of-factness of its storytelling. Especially effective is its feel for what we might call the surrealism of banality. One warning sign that someone has been infected by the neurotoxin is irrational or erratic speech and behavior, yet Shyamalan has a genius for dialogue that sounds normal and everyday as it's spoken, yet flies apart grenade-like a second later as its logic (or illogic) sinks in. Then there's Deschanel's eye-rolling dodginess about the messages some guy has been leaving on her cellphone. Or the fellow (Frank Collis) who addresses his greenhouse plants as though they were his children--has a stray toxic zephyr wafted his way, or is this just his idea of normal? - Richard T. Jameson, Amazon.com
Haunting - 1999 Remake
DeBont (SPEED, TWISTER) remakes Robert Wise's subtle and terrifying 1963 haunted house tale as a computer-effects laden thrill ride. A professor (Neeson) and three subjects (Zeta-Jones and indie heroes Taylor and Wilson) spend an night in an old house with sinister secrets for the sake of a sleep disorder study...but no one gets much sleep. Based on Shirley Jackson's novel. - Amazon Synopsis
Having made his reputation as one of the most prolific and gifted horror writers of his generation (prompting Stephen King to call him "the future of horror"), Clive Barker made a natural transition to movies with this audacious directorial debut from 1987. Not only did Barker serve up a chilling tale of devilish originality, he also introduced new icons of horror that since have become as popular among genre connoisseurs as Frankenstein's monster and the Wolfman. Foremost among these frightful, Hellraiser visions is the sadomasochistic demon affectionately named Pinhead (so named because his pale, bald head is a geometric pincushion and a symbol of eternal pain). Pinhead is the leader of the Cenobites, agents of evil who appear only when someone successfully "solves" the exotic puzzle box called the Lamont Configuration--a mysterious device that opens the door to Hell. The puzzle's latest victim is Frank (Sean Chapman), who now lives in a gelatinous skeletal state in an upstairs room of the British home just purchased by his newlywed half-brother (Andrew Robinson, best known as the villain from Dirty Harry), who has married one of Frank's former lovers (Claire Higgins). The latter is recruited to supply the cannibalistic Frank with fresh victims, enabling him to reconstitute his own flesh--but will Frank succeed in restoring himself completely? Will Pinhead continue to demonstrate the flesh-ripping pleasures of absolute agony? Your reaction to this description should tell you if you've got the stomach for Barker's film, which has since spawned a number of interesting but inferior sequels. It's definitely not for everyone, but there's no denying that it's become a semiclassic of modern horror. - Jeff Shannon
Beginning just hours after the original HELLRAISER ended, HELLBOUND finds young Kristy (Ashley Laurence) waking up in a mental institution because she insisted on describing her parents' murderers to the authorities as pain-loving demons from hell. Unfortunately, she has been placed in the car of Dr. Channard, who has devoted his life to solving the Lament Configuration, the key to the doorway of hell, and now, with Kristy, he believes he has found another key. Resuscitating the skinless corpse of her stepmother, Julia, Dr. Channard succeeds in opening a doorway to hell, one that Julia, Channard, Kristy, and her mute friend, Tiffany, all travel through.
Based on a story by Clive Barker, HELLBOUND is both a continuation of the original as well as a much different take on its story and universe. Here, the film fashions itself after an ALICE IN WONDERLAND-type fairy tale as it focuses on Kristy and Tiffany's adventures in hell as well as on the lives of the Cenobites. Infamously gory, surreal, and often horrifying, HELLBOUND is a satisfying sequel to one of the most original horror films of the 1980s - Amazon Synopsis
Hellraiser 3 takes on a new direction, with the Cenobytes released into the real world, annihilating a nightclub full of people & taking issue with the local catholic priest. Meanwhile the ghost of the man who became Pinhead contacts a local reporter through her dreams, recruiting her in the battle to return the Cenobytes to hell. This third installment is the first to fully explain the evolution of the Cenobytes & must be viewed if you are fan of the Hellraiser world. NB
Hellraiser 4 picks up the story aboard a space station in the distant future. The station is manned by a direct descendent of the creator of the puzzle box who is intent on reversing the evil caused by his ancestor. The main bulk of the story however, is a period costume drama telling the story of how his ancestor came to make the box & the occult obsessed nobleman who commissioned the design. As with Hellraiser 3, this film continues to explain the origins of the Cenobyte mythology & provides an interesting backstory to accompany the ever inventive Cenobyte attacks against humanity. NB
|Hellraiser VI: Hellseeker
Pinhead (Doug Bradley) makes another unwelcome return in this, the sixth film in the 'Hellraiser' franchise. After the puzzle box is once again solved and the forces of Hell are set to be unleashed on Earth, Kirsty Cotton (Ashley Laurence), the only one to ever defeat Pinhead, returns to do battle with her former nemesis.
|Hellraiser VIII: Hellworld
A group of role-playing gamers' fantasies turn horrifyingly real in this, the eighth instalment in the 'Hellraiser' franchise. Not best pleased when teenage fans construct a virtual online 'Hellworld', Pinhead (Doug Bradley) invites the group to a suitably themed party, where he quickly sets about turning their reality into a nightmare they'll never forget.
When Brians mother dies he is surprised to learn that he has inherited The Sanctuary, home to her controversial experimental addiction treatment centre. During a tour of the decrepit building, Brian and his friends make a horrifying discovery. Brians mother had built a revolutionary machine that cured people s addictions, but as a side effect materialised these addictions as mutants hungry for human flesh. With the terrifying creatures hunting the group as prey, Brian and his friends fight to stay alive. Amazon Synopsis
Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanisation, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (co-written by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups-- which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong. Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy--be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost non-stop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer/songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. - Mark Englehart, Amazon.com
Well-made for the genre--the excessive-skin-displayed-before-gruesome-bloody-torture-begins genre--Hostel follows two randy Americans (Jay Hernandez, Friday Night Lights, and Derek Richardson, Dumb and Dumberer: When Harry Met Lloyd) and an even randier Icelander (Eythor Gudjonsson) as they trek to Slovakia, where they're told beautiful girls will have sex with anyone with an American accent. Unfortunately, the girls will also sell young Americans to a company that offers victims to anyone who will pay to torture and murder. To his credit, writer/director Eli Roth (Cabin Fever) takes his time setting things up, laying a realistic foundation that makes the inevitable spilling of much blood all the more gruesome. The sardonic joke, of course, is that Americans are worth the most in this brothel of blood because everyone else in the world wants to take revenge upon them. This dark humor and political subtext help set Hostel above its more brainless sadistic compatriots, like House of Wax or The Devil's Rejects. In general, though, there's something lacking; horror used to suggest some threat to the spirit--today's horror can conceive of nothing more troubling than torturing the flesh. For aficionados, Hostel features a nice cameo by Takashi Miike, director of bloody Japanese flicks like Audition and Ichi the Killer. - Bret Fetzer
The inevitable sequel to one of the decadeís most intriguing and well-made horror films, Hostel Part II, as the title implies, picks up pretty much where the last film left off. And it doesnít take too long for the sequel to find the same groove that earned its predecessor so much attention. The setting is once again an underground club, where people bid for the right to torture residents at the hostel of the title. Hostel Part II, however, lets us see events from the other perspective too, as we meet the wealthy businessmen who are availing themselves of the clubís services. Itís a logical dynamic for the movie, and it does bring a fresh perspective to a film that does eventually settle down to a cavalcade of gore and shock. As a director, Eli Roth has clearly improved since last time around, even if this time he too often succumbs to the temptation to show rather than imply, and Hostel Part II as a result feels a little less fresh and more uncomfortable than its predecessor. Yet itís most certainly an unsettling piece of cinema, and one likely to find favour with Rothís increasing fanbase. A word of warning, though. Hostel Part II isnít shy about pulling its punches, and it very much justifies its 18 certificate. Itís also a cut above many of its modern day contemporaries in the genre, even though it fails to measure up to part one. - Jon Foster
A major British hit, a lorryload of laughs and some sparkling action? Weíll have some of that. Itís fair to say that Hot Fuzz proves that Simon Pegg and Edgar Wrightís brilliant Shaun Of The Dead was no one-off, serving up a superbly crafted British homage to the Hollywood action movie. Deliberately set in the midst of a sleepy, quaint English village of Sandford, Peggís Nicholas Angel is sent there because, bluntly, heís too good at his job, and heís making his city colleagues look bad. The proverbial fish out of water, Angel soon discovers that not everything in Sandford is quite as it seems, and joins forces with Nick Frostís lumbering Danny Butterman to find out whatís what. Hot Fuzz then proceeds to have a rollicking good time in both tipping its hat to the genre films that are clearly its loving inspiration, and coming up with a few tricks of its own. It does comedy better than action, with plenty of genuine laugh-out-loud moments, but itís no slouch either when the tempo needs raising. One of the many strong cards it plays is its terrific cast, which includes former 007 Timothy Dalton, Bill Nighy, Bill Bailey, Paddy Considine, Edward Woodward and Jim Broadbent. Hot Fuzz, ultimately, just falls short of Shaun Of The Dead, but more than does enough to warrant many, many repeat viewings. Itís terrific fun, and in the true hit action movie style, all-but-demands some form of sequel. That said, with Pegg and Wright now with two excellent, and suitably different, genres ticked off, itíll be interesting to see what they do next. A period drama, perhapsÖ? - Simon Brew.
Hollow Man 2 ups the ante established by Paul Verhoeven's 2000 science fiction thriller by involving not one but two invisible men in this direct-to-home-video sequel. Christian Slater is top billed as a former Army assassin who volunteers to undergo the same invisibility experiments endured by Kevin Bacon in the original film. Like before, Slater is rendered transparent but also dangerously unstable, and detectives Peter Facinelli and Laura Regan are called in to stop his killing spree. Scripter Joel Soisson has had a hand in most of the recent horror/thriller franchise sequels (Hellraiser, Dracula, Mimic and others), so he understands what's required to draw in genre fans (violence, special effects, nudity); what he's less capable at producing is an un-cliched script, which essentially strands Swiss director Claudio Fah and the cast (who are much better than the material). Undiscerning horror enthusiasts might check this out hoping for a quick thrill--and they'll find it here, but not much else. - Paul Gaita, Amazon.com
House on Haunted Hill is one of the new breed of waste-no-time thrill machines, like Deep Blue Sea, and a particularly effective example at that. The plot is pure contrivance: For a party stunt, a wealthy amusement-park manufacturer (Geoffrey Rush) offers five people a million dollars if they spend the night in a former insane asylum where the patients murdered the sadistic staff. But it turns out the five people who arrive aren't the five he invited--did his wife (Famke Janssen), who hates him, make the switch? From there events unfold with a smart combination of human and supernatural machinations; spooky jolts are dispensed at regular, but not entirely predictable, intervals. The visual effects owe a considerable debt to Jacob's Ladder, a much more ambitious movie; House on Haunted Hill just wants to get under your skin, and succeeds more than you'd expect. Rush is his entertainingly hammy self; Janssen, Taye Diggs, Ali Larter and Bridgette Wilson are attractive and reasonably straight-faced about it all; and Chris Kattan is genuinely funny as the house's neurotic owner. Some elements of the plot seem to have been lost in the editing process, but it hardly matters. More bothersome is that the scares go flat when computer effects take over at the end--the digital images just aren't as creepy as the more suggestive stuff that came before. But that's just the very end; most of the movie has a lot of momentum. Watch until the end of the credits for a final bit of eeriness. - Bret Fetzer, Amazon.com
The Ecstasy-fuelled youth culture of England is examined in this buoyant, good-natured film from 25-year-old newcomer, Justin Kerrigan. A group of young Welsh revellers, including Jip (John Simm), Lulu (Lorrain Piliongon), and Koop (Shaun Parkes) endure their mundane jobs all week, and then cut loose on a typically wild Friday night of dancing, drinking, drugging, shagging, and then recovering in order to deal with their parents come Sunday. The film's guileless pro-drug stance may prove off-putting to more jaded and conservative audiences, but as a "peak" at England's thriving 1990s counterculture, it's a fun, fascinating document, and a cheery companion to TRAINSPOTTING (which was obviously a huge inspiration). Kerrigan fills the film with lots of surreal and fantastical digressions, direct addresses to the camera, and quote-worthy bits of slang. Energetic electronica pulses throughout for a dynamite score, which combines with the high-spirited performances of the cast and makes for good time, whatever your "buzz" may be. Its honesty about the good, great, and not-so-great aspects of the lifestyle should ring true to those familiar with the scene, and provide others with a thrilling, propaganda-free glimpse into club-kid nightlife - Amazon Synopsis