Riggs et Murtaugh. le blanc et le noir. les deuc flics les plus redoutés de los angeles ! confiez-leur la protection rapprochée d'un petit comptable marron et ils vous mettent à jour un formidable trafic de drogue dans lequel le consulat d'afrique du sud est mouillé jusqu'au cou ! ... face à ses assassins protégés par l'immunité diplomatique, les deux policiers useront des moyens les moins conventionnels pour triompher de la justice. riggs n'a pas été surnommé 'l'arme fatale' pour rien : au petit jeu de la folie destructrice, il n'y a pas pire que lui ! ...
Start spreadin' the news... Jason Voorhees, the cleaver-hoisting man in the hockey mask, has finally left Crystal Lake behind and taken his vagabond shoes to the Big Apple. Actually, Jason spends most of his time on a cruise ship bound for Manhattan, carving up the unluckiest high school graduation party ever. You'd think the change of scenery might breathe new life, or death, into the series, but chapter 8 is standard stalk 'em and slash 'em fare, albeit with a nautical slant. The title hints at a comic tone, but except for the one-joke idea that Jason fits right into the menacing urban scene, forget it. (The comedy would wait until the surprisingly entertaining Jason X.) This one does have a pretty leading lady, Jensen Daggett, whose visions of the young drowned Jason are occasionally creepy. The grown-up Jason, like these little-town blues, is melting away.
Drame d'horreur de David DeCoteau avec Matt Twining, Mike Cole et Trevor Harris. - Des sangsues subissent une mutation monstrueuse après avoir sucé le sang des membres d'une équipe masculine de nageurs dopés aux stéroïdes. - Thriller fantastique d'un ridicule achevé prétexte à montrer de jeunes athlètes à moitié nus. Dialogues d'une rare insignifiance. Mise en scène et trucages lamentables. Interprétation nulle.
Meticulously crafted but also ponderous and predictable, James Cameron's 1989 deep-sea close-encounter epic reaffirms one of the oldest first principles of cinema: everything moves a lot more slowly underwater. Ed Harris and Mary Elizabeth Mastrantonio, as formerly married petroleum engineers who still have some issues to work out, are drafted to assist a gung-ho Navy SEAL (Michael Biehn) with a top-secret recovery operation: a nuclear sub has been ambushed and sunk, under mysterious circumstances, in some of the deepest waters on earth, and the petro-techies have the only submersible craft capable of diving down that far. Every image and every performance is painstakingly sharp and detailed (and the computerized water creatures are lovely) but the movie's lumbering pace is ultimately lethal. It's the audience that ends up feeling waterlogged. For a guy who likes guns as much as Cameron (his next film after all, was the body-count masterpiece Terminator 2: Judgment Day), it's interesting that the moral balance here is weighted heavily in favor of the can-do engineers; the military types are end-justifies-the-means amoralists, just like the weasely government bureaucrats in Aliens. --David Chute --This text refers to the VHS Tape edition.
Clever and original, this horror film directed by Steve Miner (Forever Young) stars Julian Sands as a 17th century warlock who escapes the gallows and is transported--along with the witch hunter who brought him to trial (Richard E. Grant)--300 years into the future. Running loose in contemporary Los Angeles, Sands's supernatural monster sets about reuniting the scattered portions of a Devil's Book that will reveal the true name of God and thus destroy mankind. In a great twist, the last bit of the book is in a very interesting place: the grave of Grant's character, who has enlisted the aid of a woman (Lori Singer) in a hurried effort to stop imminent disaster. Genuinely involving, Warlock is aided immeasurably by sharp performances from the equally eccentric Grant (Withnail and I) and Sands (Naked Lunch). Miner invents his way through a kind of simultaneously new and old horror tale, and the results are taut, fun, and surprising.
Like a pumpkin that transforms into a carriage, some very shrewd casting (and the charisma of Julia Roberts, in particular) morphed this story of a Hollywood whore into a Disneyfied Cinderella story--and a mainstream megahit. This is the movie that made Roberts a star; the charm of her personality helping tremendously to carry viewers over the rough spots in the script (which was originally a cynical tale about prostitution called 3000--after the amount of money Richard Gere's character pays the prostitute to stay with him for the week). Gere is the silver-haired Wall Street knight who sweeps streetwalker Roberts into a fantasy world of room service at the Regent Beverly Wilshire Hotel and fashion boutique shopping on Rodeo Drive. The supporting cast is also appealing, including Laura San Giacomo as Roberts's hooker pal, Hector Elizondo as the hotel manager, Jason Alexander, Ralph Bellamy, and Hank Azaria. Now, is this something you want your sons and daughters to see?
Pour Debbie, Marvin, Abby, Frank et Bill, cette belle grande maison représente un investissement intéressant.
Sans compter qu'il s'agit d'un endroit sympathique ou passer leurs week-ends...
Mais dès leur arrivée, Debbie est hantée par d'affreux cauchemars. Elle sent dans tout son corps battre le coeur de la maison! Bientôt, Bill et Abby sont victimes à leur tour d'affreuses hallucinations. Et Frank, l'étrange Frank, souffre de violents maux de tête : il est tourmenté par de douloureux souvenirs d'enfance. La maison semble vouloir les mettre en garde. Mais de qui - ou de quoi - doivent-ils se méfier?...