Nail, Jimmy

The 10th Kingdom

This epic 10-hour miniseries from the Emmy-winning writer of Gulliver's Travels was a ratings bust on television, but on video and DVD, where it can be enjoyed at one's leisure, it has a better chance to cast its magical spell. Kimberly Williams has never been more enchanting than as Virginia, a waitress who still lives with her janitor father (John Larroquette) and yearns for something exciting to happen to her. Her wish comes true when she and her father are transported from New York City into a dimension that, with apologies to Rod Serling, can only be called the Fairy Tale Zone; nine kingdoms populated by characters from fairy tales of yore. They team up with a dog who's really a prince--Wendell, grandson of Snow White--changed into canine form by the evil Queen (Dianne Wiest), who plots to usurp Wendell's throne. Father, daughter, and his royal dogness are relentlessly pursued through the nine kingdoms by the Troll King (Ed O'Neill) and his three bumbling and horrible children, and the conflicted Wolf (Scott Cohen), who is allied with the Queen but, with the aid of some Oprah-esque self-help books, tames his inner beast and falls in love with Virginia. The 10th Kingdom is a special effects extravaganza. There is indeed, as one character marvels, magic to behold here. But despite the Hallmark brand name and the presence of a grown-up Snow White (Camryn Manheim) and Cinderella (Ann-Margret), bewitched animals, magic mirrors, and trolls, this is not kid's stuff. It can get scary, surprisingly violent, and quite intense; you know, just like real fairy tales. --Donald Liebenson

Evita

After more than a decade of false starts and several potential directors, the popular Andrew Lloyd Webber/Tim Rice musical finally made it to the big screen with Alan Parker (The Commitments) at the helm and Madonna in the coveted title role of Argentina's first lady, Eva Perón. A triumph of production design, costuming, cinematography, and epic-scale pageantry, the film follows the rise of Eva Perón to the level of supreme social and political celebrity in the 1940s. Like Madonna, Perón was a material girl (she was only 33 when she died); she was instrumental in the political success of her husband, Juan Perón (Jonathan Pryce). But Eva was also a supremely tragic figure whose life was essentially hollow at its core despite the lavish benefits of her nearly goddess-like status. The film has a similar quality--it's visually astonishing but emotionally distant, and benefits greatly from the singing commentary of Ché (Antonia Banderas), who serves as a passionate chorus to guide the viewer through the elaborate parade of history. --Jeff Shannon

Few times in the history of Hollywood has a film been released with the scope and daring of EVITA! Now, experience this landmark achievement as entertainment megastar Madonna -- in the role of a lifetime -- joins Antonio Banderas (ASSASSINS, DESPERADO) for the year's most talked about motion picture event! Directed by award-winning filmmaker Alan Parker (MISSISSIPPI BURNING), EVITA is the riveting true-life story of Eva Peron (MADONNA), who rose above childhood poverty and a scandalous past to achieve unimaginable fortune and fame. Despite widespread controversy, her passion changed a nation forever! Winner of the coveted Academy Award(R) for Best Song (1996) and 3 Golden Globe Awards (Best Picture, Best Actress, and Best Song) -- critics nationwide hailed EVITA as a triumphant must-see masterpiece -- and so will you!

Still Crazy

This gently satirical British comedy chronicles the quixotic reunion of a late, arguably not-so-great, and unlamented '70s rock band, Strange Fruit, with a winning mix of humor and poignancy. The "Fruits," as the survivors call themselves without irony, had disbanded after the tragic loss of one member, the mysterious disappearance of another, and the aftershocks of internal rivalries, but 20 years later they warily reassemble for a Dutch club tour, a warm-up for a proposed festival appearance. Between that seemingly hare-brained proposal and the fateful festival, director Brian Gibson, working from a sharp script by Dick Clement and Ian LaFrenais, captures the absurdities of middle-aged rockers trying to recapture that lost cockiness.

Breathing life into the band is a terrific cast, including Stephen Rea, Jimmy Nail, Timothy Spall, and Bill Nighy, each managing to juggle deft archetype with believable character traits: Spall's cheerfully crass, flatulent drummer, and Nighy's preening, slow-witted lead singer exemplify the approach, grabbing chuckles yet making you actually care about them. Equally impressive is Billy Connolly as the wily roadie, Hughie, at once pragmatic and devoted to his charges. All are well-served by production details and script points that get the group's lost world of late '60s and early '70s rock exactly right, from costuming and stage moves to the long-forgotten bands they name-check--Blodwyn Pig, anybody?

The band's music likewise benefits from inspired insiders, cowriters Mick Jones (Spooky Tooth, Foreigner) and Chris Difford (Squeeze), who hit a nifty combination of bombast (for the silly scenes) and earnestness. When Gibson and his cast risk the story's amiable glow on a darker, more dramatic final act, the music rises to the challenge, and the whole project, like its fictional subject, achieves an unexpectedly touching victory. --Sam Sutherland

Howling II - Your Sister Is a Werewolf

After countless millennia of watching, waiting and stalking, the unholy creatures known as werewolves are poised to inherit the earth. Legendary horror icon Christopher Lee faces off against lusty cult favorite Sybil Danning in this terrifying descent into a world of nightmares that turns out to be all too real!

After newscaster Karen White's shocking on-screen transformation and violent death (in the original The Howling), her brother Ben (Reb Brown) is approached by Stefan Crosscoe (Lee), a mysterious man who claims that Karen has, in fact, become a werewolf. But this is the least of their worries... To save mankind, Stefan and Ben must travel to Transylvania to battle and destroy Stirba (Danning), the immortal queen of all werewolves, before she is restored to her full powers!

The 10th Kingdom

This epic 10-hour miniseries from the Emmy-winning writer of Gulliver's Travels was a ratings bust on television, but on video and DVD, where it can be enjoyed at one's leisure, it has a better chance to cast its magical spell. Kimberly Williams has never been more enchanting than as Virginia, a waitress who still lives with her janitor father (John Larroquette) and yearns for something exciting to happen to her. Her wish comes true when she and her father are transported from New York City into a dimension that, with apologies to Rod Serling, can only be called the Fairy Tale Zone; nine kingdoms populated by characters from fairy tales of yore. They team up with a dog who's really a prince--Wendell, grandson of Snow White--changed into canine form by the evil Queen (Dianne Wiest), who plots to usurp Wendell's throne. Father, daughter, and his royal dogness are relentlessly pursued through the nine kingdoms by the Troll King (Ed O'Neill) and his three bumbling and horrible children, and the conflicted Wolf (Scott Cohen), who is allied with the Queen but, with the aid of some Oprah-esque self-help books, tames his inner beast and falls in love with Virginia. The 10th Kingdom is a special effects extravaganza. There is indeed, as one character marvels, magic to behold here. But despite the Hallmark brand name and the presence of a grown-up Snow White (Camryn Manheim) and Cinderella (Ann-Margret), bewitched animals, magic mirrors, and trolls, this is not kid's stuff. It can get scary, surprisingly violent, and quite intense; you know, just like real fairy tales. --Donald Liebenson

Morons from Outer Space

A trio of very dense aliens abandons their equally dimwitted pal Bernard (coscripter Mel Smith) and crashes their rented spacecraft in England, where they become pop media icons under the guiding hand of a disgruntled television employee (coscripter Griff Rhys Jones). Bernard eventually finds his way to America, where his claims of interplanetary pedigree land him in an asylum. This satire of science fiction and societal quirks from British television comics Smith and Jones and director Mike Hodges (Croupier) generates its biggest laughs early, when the hapless trio is pitted against the British and American military (James B. Sikking appears briefly as a trigger-happy Yank officer). The remainder quickly dissipates into generic slapstick and feeble pokes at media hype, though Smith and fellow U.K. performer Jimmy Nail (as beer-guzzling spaceman Dez) have some strong individual moments. Smith later directed such films as Bean (1997) and High Heels and Low Lifes (2001). --Paul Gaita

Sci-fi meets hilarity in this wildly adventurous comedy that goes where no man—or moron—has gone before. We can now safely conclude that there is no intelligent life in space. Four holiday travelers from the planet Blob have somehow lost control of their rented spaceship and crash-landed on Earth. At first, the military and scientific teams assume they are higher life forms. But not for long. Idiocy is hard to hide. The stranded wayfarers are complete morons, content to drink their green beer, sing ear-splitting pop songs and talk to trash cans, which they assume are the planet's leaders. But not until an enterprising journalist decides to market their dazed innocence and turn them into glitzy superstars do they find their true mission to Earth. With amusing parodies of famous film classics like Close Encounters of the Third Kind and warp-speed laughs, this is one screwball comedy that's out of this world.

Still Crazy [Region 2]

This gently satirical British comedy chronicles the quixotic reunion of a late, arguably not-so-great, and unlamented '70s rock band, Strange Fruit, with a winning mix of humor and poignancy. The "Fruits," as the survivors call themselves without irony, had disbanded after the tragic loss of one member, the mysterious disappearance of another, and the aftershocks of internal rivalries, but 20 years later they warily reassemble for a Dutch club tour, a warm-up for a proposed festival appearance. Between that seemingly hare-brained proposal and the fateful festival, director Brian Gibson, working from a sharp script by Dick Clement and Ian LaFrenais, captures the absurdities of middle-aged rockers trying to recapture that lost cockiness.

Breathing life into the band is a terrific cast, including Stephen Rea, Jimmy Nail, Timothy Spall, and Bill Nighy, each managing to juggle deft archetype with believable character traits: Spall's cheerfully crass, flatulent drummer, and Nighy's preening, slow-witted lead singer exemplify the approach, grabbing chuckles yet making you actually care about them. Equally impressive is Billy Connolly as the wily roadie, Hughie, at once pragmatic and devoted to his charges. All are well-served by production details and script points that get the group's lost world of late '60s and early '70s rock exactly right, from costuming and stage moves to the long-forgotten bands they name-check--Blodwyn Pig, anybody?

The band's music likewise benefits from inspired insiders, cowriters Mick Jones (Spooky Tooth, Foreigner) and Chris Difford (Squeeze), who hit a nifty combination of bombast (for the silly scenes) and earnestness. When Gibson and his cast risk the story's amiable glow on a darker, more dramatic final act, the music rises to the challenge, and the whole project, like its fictional subject, achieves an unexpectedly touching victory. --Sam Sutherland

The 10th Kingdom [Region 2]

Crusoe

The 10th Kingdom [Region 2]