Sam and his older brother Michael are all American teens with all American interests. But after they move with their mother to peaceful Santa Carla, California, things mysteriously begin to change. Michael's not himself lately. And Mom's not going to like what he's turning into. The Lost Boys reshapes vampire tradition, deftly mixing heart pounding terror, rib tickling laughs and a body gyrating rock soundtrack.
A lusty and rousing adventure, this calls to mind those glorious costume dramas produced so capably by the old Hollywood studio system--hardly surprising, in that its title character, a de facto Robin Hood in Old California, provided starring vehicles for Douglas Fairbanks and Tyrone Power, the '50s TV hit, and dozens of serials and features. Zorro, a pop-fiction creation invented by Johnston McCulley in 1918, is given new blood in this fast-moving and engaging version, which actually works as a sequel to the story line in the Fairbanks-Power saga, The Mark of Zorro.
The disaster that occurred at Jurassic Park is over. It's been four years since the genetically bred dinosaurs terrorized the scientists and visitors who had come to marvel at their existence. But Dr. Ian Malcolm (Jeff Goldblum) has just learned some very disturbing news: John Hammond (Richard Attenborough), the billionaire entrepreneur who funded the original Park, has been breeding more dinosaurs at a second, secret location. What's even more shocking to Dr.
Akira Kurosawa's rousing Seven Samurai was a natural for an American remake--after all, the codes and conventions of ancient Japan and the Wild West (at least the mythical movie West) are not so very far apart. Thus The Magnificent Seven effortlessly turns samurai into cowboys (the same trick worked more than once: Kurosawa's Yojimbo became Sergio Leone's A Fistful of Dollars). The beleaguered denizens of a Mexican village, weary of attacks by banditos, hire seven gunslingers to repel the invaders once and for all.
Nominated for two Academy Awards in 1979, and considered "one of Allen's most enduring accomplishments" (Boxoffice), Manhattan is a wry, touching and finely rendered portrait of modern relationships set against the backdrop of urban alienation. Sumptuously photographed in black-and-white (Allen's first film in that format), and accompanied by a magnificent Gershwin score, Woody Allen's aesthetic triumph is a "prismatic portrait of a time and a place that may be studied decades hence." --Time Magazine.
Diane Keaton stars as Carol Lipton, a bored Manhattan housewife who becomes convinced that her nextdoor neighbor has committed a murder. When her skeptical husband, Larry (Allen), rejects the idea, Carol turns to a flirtatious friend (Alda) to help her search for clues. And as their enthusiasm for the case grows so does their interest in each other. Spurred on by jealousy - and by a seductive writer (Huston) who's also excited by the murder mystery - Larry reluctantly joins the chase, only to learn that much more than his marriage is at stake.
The winning comic finesse of Reese Witherspoon drives Legally Blonde 2: Red White and Blonde. It's astonishing that the sequel could possibly be daffier than the first movie, but Legally Blonde 2 leaves reality behind like an unflattering outfit. Unemployed lawyer Elle Woods (Witherspoon) sets off to our nation's capitol to ban cosmetics testing on animals, after discovering that her beloved chihuahua's own mother is being used as a test subject.
James Bond (Roger Moore) may have met his match in Francisco Scaramanga (Christopher Lee), a world-renowned assassin whose weapon of choice is a distinctive gold pistol. When Scaramanga seizes the priceless Solex Agitator energy converter, Agent 007 must recover the device and confront the trained killer in a heart-stopping duel to the death!
Timothy Dalton made his 007 debut in the lean, mean mode of Sean Connery, doing away with the pun-filled camp of Roger Moore's final outings. He establishes his persona right from the gritty pre-credits sequence, in which he hangs from a speeding truck as it barrels down narrow cobblestone streets, battles an assassin mano a mano, and lands in the arms of a bikinied babe. This James Bond is ruthless, tough, and romantic.
Roger Moore was introduced as James Bond in this 1973 action movie featuring secret agent 007. More self-consciously suave and formal than predecessor Sean Connery, he immediately reestablished Bond as an uncomplicated and wooden fellow for the feel-good '70s. This film also marks a deviation from the more character-driven stories of the Connery years, a deliberate shift to plastic action (multiple chases, bravura stunts) that made the franchise more of a comic book or machine.
