Nigel Planer narrates a documentary which traces the origins and development of British heavy metal from its humble beginnings in the industrialised Midlands to its proud international triumph. Contributors include Lemmy, Sabbath's Tony Iommi, Ian Gillan from Deep Purple, Judas Priest singer Rob Halford, Bruce Dickinson from Iron Maiden and Saxon's Biff Byford.
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Nigel Planer narrates a documentary which traces the origins and development of British heavy metal from its humble beginnings in the industrialised Midlands to its proud international triumph. Contributors include Lemmy, Sabbath's Tony Iommi, Ian Gillan from Deep Purple, Judas Priest singer Rob Halford, Bruce Dickinson from Iron Maiden and Saxon's Biff Byford.
2010-03-07
7.1
Tracing the roots of Heavy Metal music within the UK.
Dr. Abraham Van Helsing is granted immortality by the Catholic Church until he can hunt down the last vampire prince.
In a futuristic world where militaristic robots known as the “Media Police” have outlawed entertainment and banned outdated media formats, a young woman and her robotic companion aim to recover vintage content stored on video cassettes and battle their evil robot overlords to protect “obsolete” media from being lost forever.
The infamous Gorgoroth gig in Krakow, Poland! Gorgoroth, Norwegian black metal band, drew the attention of the international media in early 2004 after their show in Krakow. They were accused of "offending religious feelings" during the gig, as well as suspected of breaching Polish law concerning the protection of animal rights by using severed and impaled heads of sheep as part of their stage design.
Billy and Sheena visit their Uncle Harold on an island in the Caribbean, but while exploring under water they find something terrible lurking deep below the sea.
The royal couple Odette and Derek face yet another evil magician, this time a woman named Zelda. Lusting for the treasure of the Forbidden Arts, which will give her absolute power, Zelda kidnaps Odette as ransom. Derek and several animal friends head off to rescue Odette
In São Paulo, Alberto is an insane and sadistic man that kills women, and lives with his mother that covers all his mess. When he kills his mother's employee Eliana, stabbing her in the bathtub, they bury her in the backyard of their house. Eliana's fiancé unsuccessfully seeks her out and when Alberto's mother advertises that she needs a driver, he applies for the job to sneak around the real estate trying to find Eliana.
Starring Shaheizy Sam and Zizan Razak, the film follows two policemen, Khai and Sani, who have very different personalities. However, they have to put aside their differences when they have to work together in a mission to defeat a drug trafficking syndicate.
A look into the mind of one of the Hillside Strangler murderers, Kenneth Bianchi.
An American gangster of Swedish origins returns to his homeland to set up shop as a morality crusader, much in the manner of the later phenomenon of televangelists. While indulging in behind-the-scene shenanigans including rape and murder, the gangster (played by American Clu Gulagher) preaches to large audiences, using mass hypnotism and show-biz razzmatazz to get his message across. The film also features a brief performance by Per Oscarsson, following his highly publicized "retirement" from screen acting.
De meiden van K3 vinden een sprookjesboek, waarin het gezicht van een prins verschijnt. Hij is vervloekt door de kattenkoningin en moet voor 12 uur 's nachts zijn ware liefde gekust hebben, anders verandert hij voor altijd in een kat. Samen met de fee Fiorella schiet K3 de prins te hulp.
Richard Himber and His Orchestra plays us a few songs.
On the 20th anniversary of their edgy little 90's cable show Underground Entertainment, the authors, along with many SF, horror and B celebrities in cameos, remember how they pushed the envelope, shocked, entertained, but also introduced the audience to many movies, comics and conventions.
David McVicar's spellbinding production of LE NOZZE DI FIGARO is set in 1830s post-revolution France, where the inexorable unravelling of an old order has produced acute feelings of loss. In the relationship between Finley's suave, dashingly self-absorbed Count and Röschmann's passionately dignified Countess, which lies at the tragic heart of the opera, the sexy ease between a feisty Figaro (Erwin Schrott) and a sassy Susanna (Miah Persson) is starkly absent, the tenacious spark between Marcellina (Graciela Araya) and Bartolo (Jonathan Veira) suggesting what might be rekindled. The production is superbly complemented by the beauty of Paule Constable's lighting and Tanya McCallin's evocative sets. Antonio Pappano conducts (and accompanies the recitatives) with invigorating wit and emotional depth.
Working stiff Tom Tupper is stopped by a 'man on the spot' reporter during his daily commute. Asked for his opinion on male/female relations, Tom tells the radio audience that he thinks men could do a better job running the household than women. When he arrives home, his infuriated wife Margaret proposes that her husband put his money where his mouth is. The couple switch roles, with Margaret going to the office and Tom cooking and cleaning. While Margaret becomes a successful entrepreneur, the man of the house comes dangerously close to having a nervous breakdown. Overwhelmed by a woman's work, Tom begs Margaret to go back to the way things were, but his now-independent wife isn't interested.
In the middle of October 1998, Tomoe Enjou is attacked by bullies from his old school and saved by Shiki Ryougi. He asks her to hide him at her place and admits that he killed someone. Several days after the incident there are still no broadcasts about the murder as if it didn't happen.
Video installation, 2005, at LOKAAL_01 Breda 2007, Burning Marl, curator Frederik Vergaert in Seppenshuis Zoersel, 2005. A woman walking through 3 video images. Three screens display how the day’s light passes by: from the early morning light until late at night. Along with the woman the artist walks through the forest, in the same rhythm, the same pace. Off-screen she looks through the camera, fragmenting time. The age-old androgynous trees are a vertical constant along which the woman moves, as if in an interval between visibility and invisibility, between sound and silence, while the light keeps on evolving metabletically.