Showing posts with label drama. Show all posts
Showing posts with label drama. Show all posts

Rome: The Complete HBO Season 2 (5 Disc Box Set) [2006]


Unlike another certain celebrated HBO series, Rome's end will satisfy those swept up in its lavishly mounted spectacle and invested in the human dramas of the historical figures and fictional characters. Series 2 begins in the wake of Julius Caesar's assassination, and charts the power struggle to fill his sandals between "vulgar beast" Mark Antony (James Purefoy) and "clever boy" Octavian (Simon Woods), who is surprisingly named Caesar's sole heir. The series' most compelling relationship is between fellow soldiers and unlikely friends, the honorable Lucius Vorenus (Kevin McKidd) and Titus "Violence is the only trade I know" Pullo (Ray Stevenson), who somewhat reverse roles when Vorenus is overcome with grief in the wake of his wife's suicide. Series 2 considerably ups the ante in the rivalry between Atia (an Emmy-worthy Polly Walker), who is Antony's mistress, and Servilia (Lindsay Duncan) with attempted poisonings and sickening torture. Another gripping sub plot is Vorenus's estrangement from his children, who, at the climax of the season opener are presumed slaughtered, but whose true fate may be even more devastating to the father who cursed them. Rome's second season does not scrimp on the series' sex and violence, in both cases exceedingly brutal. But in this cauldron of treachery and betrayal, words, too, are vicious, as when a defiant Atia ominously tells Octavian's new wife, Livia, "Far better women that you have sworn to [destroy me]. Go look for them now." In writing Rome's epitaph, we come to praise this series, not to bury it. Although two seasons was not enough to establish a Rome empire, it stands as one of HBO's crowning achievements. --Donald Liebenson

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Prison Break - Season 2 - Complete [2006]


Michael Scofield (Wentworth Miller, THE HUMAN STAIN) and his brother Lincoln Burrows (Dominic Purcell, JOHN DOE) might have escaped prison at the end of series one, but that doesn't mean that drama and action have to end in this thrilling series' second year. Michael, Lincoln, and a group of escaped convicts aren't just on the run from the law, led by an FBI agent (William Fichtner, INVASION). They're also devoting their time to uncovering a vast government plot that takes them all over the world. Like fellow serial dramas LOST and 24, PRISON BREAK is a complex series driven by smart stories and engaging action that rewards multiple viewings. Features all the episodes from the second series of PRISON BREAK.

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Amazing Grace [2007]


In this inspirational costume drama, Michael Apted (49 Up) recounts a important period in British history. Unsurprisingly, however, his eye-opening biography of 18th century abolitionist William Wilberforce (Ioan Gruffudd) is likely to come as a revelation to many Britons. After all, despite the presence of his wife, Barbara (Romola Garai), this isn't a particularly "sexy" story, but it is a powerful one. The title comes from John Newton's hymn "Amazing Grace" ("I once was lost but now am found"). Newton (Albert Finney) was a former slaveholder, who became a clergyman and spent his days repenting. While America had John Brown, England had Wilberforce, and Newton is one of many who helped the MP to abolish slavery in the UK. The story begins towards the end of Wilberforce's mission when he's sick with colitis and addicted to laudanum. Apted continues to alternate between 1797 and 1789, when Wilberforce was fitter and more idealistic, and ends in 1807 as his efforts come to fruition. Apted and writer Steven Knight (Dirty Pretty Things) do right by their hero. Unlike Amistad, however, slaves are largely off-screen, with the exception of author Equiano (Senegalese vocalist Youssou N'Dour). Amazing Grace reserves its focus for the politicians who risked their reps for the greater good, like Wilberforce and Prime Minister Pitt (an excellent Benedict Cumberbatch), and those more concerned with the income slavery provided their constituents, like Lord Tarleton (Ciarán Hinds) and the Duke of Clarence (Toby Jones). --Kathleen C. Fennessy

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The Complete Roots Collection: Original Series 30th Anniversary Edition / Roots The Gift TV Special / The Next Generation


Based on Alex Haley's best-selling novel about his African ancestors, the acclaimed US TV mini-series Roots garnered widespread popularity in the 1970s and to this day remains one of the most watched programmes in history, with the ratings for the series finale still the third highest-rated US program of all time, (behind the final episode of MASH and the "Who Shot JR?" episode of Dallas).
Roots follows several generations in the lives of a slave family. The story begins with Kunta Kinte (played by LeVar Burton), a West African youth captured by slave traders and shipped to America in the 1700s. Torn from his homeland, stripped of his dignity, his rights and even his name, in torment and anguish he is brought to the slave markets of the new world. He tries, but fails, to escape before accepting he can never return to Africa. The film traces his life and those of his family, depicted up until the Civil War where Kunte Kinte's grandson gains emancipation. It captures generations of love, tears, pain, strife, sacrifice and happiness, reminding us of the resilience and resource of the human spirit even under crippling injustice. But Roots was more than just a quality drama, it had a wider impact on society. It persuaded American audiences to regard their history from a black perspective, and to see how--against odds far more desperate than those the pilgrims faced--Africans laid claim to their status as free African-Americans. It triggered a craze for genealogy and changed forever the way black people were depicted on TV.

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Bones - Season 2 [2006]


Beginning with the death of a senator and ending with a marriage, the second season of Bones builds on the momentum created during the first season. The second season centres on the collaborations between FBI special agent Seeley Booth (David Boreanaz, Angel, Buffy the Vampire Slayer) and forensic anthropologist Dr. Temperance Brennan (Emily Deschanel), whom Booth has nicknamed "Bones." While Booth doesn't completely believe in Bones' method, he can't argue with her success rate at solving crimes. As for Bones, she is meticulous at what she does and is a borderline genius, but she has issues. Seemingly oblivious to her own good looks, she is all but socially inept. Booth may be blunt, but he's comfortable dealing with the public. Bones, on the other hand, would rather be sequestered away with the dead, trying to figure out what happened before their uncertain deaths. Of course, while viewers can see that Bones and Booth would be a perfect couple, the characters aren't quite there yet. Their friendship becomes a little more complicated this season when it turns out that Bones' new demanding boss, Dr. Camille Saroyan (Tamara Taylor), is a former girlfriend of Booth's. And the two women aren't getting along. Still, everyone is able to work together to solve a series of crimes, such as identifying the remains of an all but unidentifiable teenage boy and dealing with a serial killer who is emulating the crimes depicted in Bones' latest mystery novel. (Yes, she's not only a brilliant scientist but also an ace author.) Like many television dramas where forensic evidence is a driving force in the plots, Bones offers up the gross-out autopsies. But it also serves up a lot of humanity in the way the characters interact with one another. It is giving nothing away to reveal that Bones and Booth are not the couple getting married in the season finale. But the episode does reveal that beneath their tough exteriors, marriage and all that it implies is something they wouldn't mind... perhaps even with each other. --Jae-Ha Kim

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The Lives Of Others [2007]


In the former East Germany, no-one was above suspicion. Like George Orwell's vision of the future come to life, art and people and relationships were monitored obsessively; The Lives of Others captures not only the paranoia and danger inherent in such a world, but also expresses hope that even in the most desperate situations, people can make a difference.

The story of The Lives of Others unfolds mostly through the eyes of a secret service agent who's been given the task of spying on an artistic couple who've attracted the attention of the Minister of Culture. Little by little, he's drawn into their lives even as we're drawn into his; and as he loses his faith in the government, he must decide whether or not to try to hide the transgressions of those he's watching. As the physical danger and emotional cost mounts, it's impossible not to become utterly engrossed; intelligent and well-written, The Lives Of Others is also deeply moving.

It's rare to find a film that really deserves its rave reviews, and considering The Lives of Others won a Best Foreign Language Film Oscar, it's got a lot to live up to. Happily, it's more than just up to scratch--it's absolutely brilliant. --Sarah Dobbs

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Life on Mars : Complete BBC Series 2 [2006] [2007]


It’s hard to believe it’s over. Life On Mars shot out of nowhere at the beginning of 2006 to become a vital, gripping drama, and this second series more than maintains the sky high standards that the first so memorably set.

What makes it even more surprising is that all the ingredients were there for it to go so tragically wrong. The central premise, that for unknown reasons modern day police detective Sam Tyler wakes up in the 1970s, is fraught with potential potholes, yet the creators of Life On Mars twist it very much in their favour, delivering a skilful, taut comparison between policing then and policing now.

It’s this clash of approach that provides many of Life On Mars’ sparks, but nonetheless, it has much more than that going for it. It boasts, for instance, a terrific level of attention to detail, and weaves in quality narrative too, with Tyler frequently caught between unravelling his predicament, the crimes before him, and his 1970s’ colleagues with their 1970s’ tactics.

This second, and final, series wraps things up surprisingly well, and consistently delivers laughs, action and plenty of pub talk off the back of it. It’s also a delight to revisit Life On Mars, and that makes this collected boxset of the episodes of season two an absolute must for any fan of gritty, interesting and terrifically entertaining British drama. Quite, quite brilliant. --Jon Foster

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The Queen [2006]


Helen Mirren reigns supreme in The Queen, a witty and ingenious look at a moment that rocked the house of Windsor: the week that followed the sudden death of Princess Diana in 1997. Diana's death came at just the same time that Prime Minister Tony Blair (played by the bright Michael Sheen) was settling into his new government--and trying to figure out the delicate relationship between 10 Downing Street and Queen Elizabeth II (Mirren). A large portion of the British population was trying to figure out the Windsors that week, as Elizabeth remained stiff-upper-lip and largely mum about the death of the beloved princess. In Peter Morgan's skillful script, we watch as Blair grows increasingly impatient with the Royals, who are sequestered in their Scottish estate while the public demands some show of grief. Prince Philip (James Cromwell, in good form) clumsily decides to take Diana's sons hunting, while a sympathetically-treated Prince Charles (Alex Jennings) displays some frustration with his mother's eerie calm. None of this conveys how funny the film is, or how deftly it flows from one scene to the next. Director Stephen Frears (Dirty Pretty Things) deserves great credit for that, and for the performances, and for the movie's marvelous sense of well-roundedness; you could see this movie and groan at the cluelessness of the Royals and their outmoded existence, or you might just sympathise with showing reserve in a world that values gross public displays of emotion. But either way, you'll marvel at Mirren, who makes the Queen far more alert and human than one might ever have imagined. --Robert Horton

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Miss Potter [2006]


Miss Potter walks that fine line between charming and cloying with pleasing sure-footedness. Apple-cheeked Renee Zellweger (Bridget Jones' Diary) once again slips into a British accent to play writer/illustrator Beatrix Potter, the creator of Peter Rabbit. Potter, born into wealth, fought the disapproval of her high society mother to do something as crass as publish a book... and to fall in love with her publisher, Norman Warne (Ewan McGregor, previously teamed with Zellweger in Down With Love). Unfortunately, their love runs into something worse than upper-class stuffiness. Miss Potter skips through Potter's life a bit too briskly at times, but Zellweger's thankfully restrained performance, McGregor's infinite charm, and some beautiful shots of the English landscape keep the movie grounded and engaging. Also featuring a crackling supporting performance by Emily Watson (Breaking the Waves) as Warne's sister Millie. --Bret Fetzer

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Pride And Prejudice : Complete BBC Series - 10th Anniversary Edition [1995]


In spite of the quality of the more recent Keira Knightley-starring big-screen interpretation, it’s the mid-90s BBC mini-series of Pride and Prejudice that’s still regarding by many as the definitive telling of Jane Austen’s classic.

Featuring, as many swooning admirers will already know, Colin Firth in a career-topping performance as Mr Darcy, Pride and Prejudice is the timeless tale of seemingly impossible romance. On one hand, there’s the wealthy, single Mr Darcy, and on the other is Elizabeth, a woman Darcy believes is beneath him. Across six sumptuous hours of this classic mini-series, their story then slowly bubbles, aided by some excellent supporting performances. Nods must go to the likes of Jennifer Ehle, Susannah Harker, Anna Chancellor and Julia Sawalha, to highlight but a handful.

It’s not just in front of the camera where Pride and Prejudice scores, though. The production values are absolutely outstanding, with this really a watermark for BBC costume drama production. Add in Simon Langton’s diligent direction, and this is one of those rare occasions where everything seemingly effortlessly falls into place, with outstanding end results.

Over ten years since it was first broadcast, the particular take on Pride and Prejudice remains as vital, moving and compelling as it was first time round. And if it’s ever topped, it’s going to take something really, really special to do it… --Jon Foster

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The Tudors : Complete BBC Series 1 - Limited Edition 'Headless' Sleeve


The 'Headless' edition of the award-winning series The Tudors is encased in a unique sleeve showing Henry (Jonathan Rhys Meyers) on his throne, surrounded by four busty headless women--a tongue-in-cheek allusion to the controversial king's legacy of beheading his wives. This limited edition sleeve is an Amazon.co.uk exclusive.

Passion, ambition and treachery collide in this compelling, daring, big budget drama about the tumultuous early part of King Henry VIII's infamous 40-year reign...Bold and passionate about his country and his women, King Henry’s obsession with ensuring his legacy led to beheading friends and foes, waging wars and challenging the Catholic Church – events that would forever change the British Empire.

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Blood Diamond [2006]


Leonardo DiCaprio puts a handsome face on an ugly industry: In parts of Africa, diamond mining fuels civil warfare, killing thousands of innocents and drafting preteen children as vicious soldiers. DiCaprio (The Departed) plays Danny Archer, a white African soldier-turned-diamond-smuggler who gets wind of a large raw jewel found by Solomon Vandy, a native fisherman (Djimon Hounsou, In America) recently escaped from enslavement by a brutal rebel leader. Archer offers a deal: He'll help Vandy find his war-scattered family if Vandy will share the diamond with him. Drawn into this web of exploitation is journalist Maddy Bowen (Jennifer Connelly, Little Children), who agrees to help if Archer will tell her the details of how conflict diamonds make their way into the hands of the corporations who sell them to the Western world. DiCaprio is compelling because he never flinches from Archer's utter ruthlessness; Archer ends up doing the morally justifiable thing, but only because his desperate greed has led him to it. Hounsou and Connelly, though saddled with all the moral and political speeches, rise above the cant and keep the movie's treacherously formulaic plot rooted in human characters. But in the end, the story won't stick with you as much as the dead stillness in the child soldiers' eyes; the horror of African civil strife refuses to be contained by Blood Diamond's uplifting message--and the movie is all the more potent as a result. --Bret Fetzer

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Becoming Jane [2006]


Like Molière, which was released in cinemas soon after, Becoming Jane isn't a conventional biopic. Instead, Julian Jarrold (White Teeth) expands on events from Jane Austen's life that may have shaped her fiction. To his credit, he doesn't stray too far from the facts. In 1795, 20-year-old Jane (Anne Hathaway with believable British accent) is an aspiring author. Her parents (Julie Walters and James Cromwell) married for love, and money is tight. They hope to see their youngest daughter make a more lucrative match, and there's a besotted local, Mr. Wisley (Laurence Fox, son of actor James Fox), who would be happy to oblige. Unfortunately, Jane isn't interested. Then, she meets brash law student Tom (The Last King of Scotland's James McAvoy), while he's staying with relatives in rural Hampshire. As in many Austen novels, it isn't love at first sight--but rather irritation. Just as affection begins to bloom, Tom has to return to London, and Wisley, whose financial prospects are superior, proposes. To complicate matters, Tom's uncle (Ian Richardson in his final performance) disapproves of the outspoken young lady just as much as Wisley's aunt (Maggie Smith, lending the proceedings some subtle humor). Had Austen penned the script, Tom and Wisley would be combined into one person, but life doesn't work that way--and nor does Becoming Jane. Though Jarrold's effort may not be as swoon-worthy as Joe Wright's Pride and Prejudice, it remains true to the spirit of the author's work. --Kathleen C. Fennessy

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House - Season 3 (Hugh Laurie) [2006]


The award-winning House simply gets better and better, as its third season again delivers entertainment to a consistently high standard. Powered by Hugh Laurie in the title role--and his performance is worthy of every plaudit it’s attracted--this is a medical mix of drama and highly sarcastic comedy, that’s proven to be a considerable commercial and critical success.

The thinking behind the show is simple. Laurie’s Dr House is as reluctant, snide and miserable a medical practitioner as you’re likely to find, although he happens to be a genius at solving the unsolvable cases. Along with his small team of doctors, each episode generally sees House as a medical mystery, with said team scrabbling to find the answers to devilishly complicated illnesses and diseases.

But House’s skill is its characters as well as its at-times ingenious plotlines. Hugh Laurie aside, Omar Epps, Jesse Spencer and Jennifer Morrison are terrific as House’s long-suffering staff, while Robert Sean Leonard’s Dr Wilson and Lisa Edelstein’s Dr Cuddy are equally strong as his only friend and boss respectively.

The third season of House shakes things up quite a lot though. A good chunk of it, for instance, is concerned with Laurie’s Doctor coming under investigation from a detective who takes a dislike to House’s methods. Plus there’s also a superb episode set mid-flight, and plenty of character issues to deal with too. No plot spoilers here, though!

In short, House is, and remains a triumph, by turns funny, dramatic and moving. And Laurie, surely in the role of a lifetime, is simply brilliant. Series four can’t come quickly enough. --Simon Brew

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The Sopranos: HBO Season 6 (Part 2 - The Final Episodes) [2007]


The final installment of HBO’s acclaimed drama series The Sopranos is filled with some of the darkest hours the well-drawn characters have ever faced. Having cheated death after being shot by Uncle Junior, Tony Soprano (James Gandolfini) continues to muse about his second chance at life in this series. He faces a myriad of immediate, stress-inducing crises at home, at work and from the law. Tony's wife Carmela (Edie Falco) plans for a future she's not sure will arrive, and son AJ (Robert Iler) and daughter Meadow find that adulthood holds its own surprises. Meanwhile, at work, Tony comes to doubt the allegiances of many of those closest to him--no one, not Paulie, Bobby, Silvio or even Christopher--is above suspicion. The clock is ticking. Time is running out. But for who?

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The Last King Of Scotland [2006]


As the evil Ugandan dictator Idi Amin, Forest Whitaker gives an unforgettable performance in The Last King of Scotland. Powerfully illustrating the terrible truth that absolute power corrupts absolutely, this fictionalised chronicle of Amin's rise and fall is based on the acclaimed novel by Giles Foden, in which Amin's despotic reign of terror is viewed through the eyes of Nicholas Garrigan (James McAvoy), a Scottish doctor who arrives in Uganda in the early 1970s to serve as Amin's personal physician. His outsider's perspective causes him to be initially impressed by Amin's calculated rise to power, but as the story progresses--and as Whitaker's award-worthy performance grows increasingly monstrous--The Last King of Scotland turns into a pointed examination of how independent Uganda (a British colony until 1962) became a breeding ground for Amin's genocidal tyranny. As Whitaker plays him, Amin is both seductive and horribly destructive--sometimes in the same breath--and McAvoy effectively conveys the tragic cost of his character's naiveté, which grows increasingly prone to exploitation. As directed by Kevin Macdonald (who made the riveting semi-documentary Touching the Void), this potent cautionary tale my prompt some viewers to check out Barbet Schroeder's equally revealing documentary General Idi Amin Dada, an essential source for much of this film's authentic detail. --Jeff Shannon

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Dirty Dancing 20th Anniversary Collectors Edition [1987]


Headstrong 17-year-old Baby Houseman hardly expects her family's usual summer vacation in the Catskills to be momentous. But then Baby spies Johnny Castle, the resort's dance instructor from the wrong side of the tracks. Johnny's facing a crisis: his dance partner and friend Penny is pregnant and has reluctantly decided to get an abortion. This leaves Johnny a solo act--until Baby agrees to take Penny's place. She has to learn how to dance first, however, and as Johnny teaches her the choreography's sexy, seductive moves, the two fall in love. But Baby's father believes that Johnny is the creep who got Penny pregnant, and he furiously orders Baby to end the relationship. Baby knows that Johnny's innocent--and with her feisty idealism and his dance talent, the two will prove to Baby's father that their love is worth fighting for.

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Fantasy Island : Complete Season 1


One of the definitive TV shows of the 1970s that originally aspired to the dark moral complexity of anthology shows like The Twilight Zone. Even die hard fans will have to admit Fantasy Island fell short of its goal--but that didn't stop it from becoming hugely popular, lasting for seven powerhouse seasons. All the most iconic elements were present from the beginning: Diminutive Tattoo (Herve Villechaize, The Man with the Golden Gun) shouting "De plane! De plane!"; infinitely gracious Mr. Roarke (Ricardo Montalban, Star Trek II: The Wrath of Khan) commanding "Smiles, everyone, smiles," before delivering pages of exposition with his implacable Latin gravitas; the white suits; the tropical island that somehow has all the vegetation and weather patterns in the world; the pageant of celebrities from Jim Backus to Karen Valentine, Barbi Benton to Don Knotts--it all added up to sneakily addictive television.

After all, wish-fulfillment--be it a schlub who wants to be irresistible to chicks or kids who want their separated parents to reconcile or a former cheerleading team who want to relive their high school glory days--had a built-in narrative hook, even though the resolution (various versions of "be careful what you wish for") was never in doubt. Almost every episode bubbled over with sex, revenge, ambition, and regret, delivered with a shameless lack of subtlety. Over the course of the first season, the interplay between Montalban and Villechaize--each armed with an intriguing exotic accent--became more and more prominent, with Mr. Roarke becoming increasingly supernatural while Tattoo oozed the mortal sins of greed and lechery. Turn on any episode; you'll find it hard to stop watching, no matter how cheesy or ludicrous the storyline. --Bret Fetzer

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