Michael Jackson

Il documento della grande reunion! Il tour che ha superato ogni record in Inghilterra con oltre 1,8 milioni di spettatori!!! Uno show monumentale, come quello visto in Italia allo stadio di San Siro. Per la prima volta insieme dopo 15 anni, Robbie Williams, Gary Barlow, Howard Donald, Jason Orange e Mark Owen si esibiscono spettacolarmente nelle hit della loro carriera, e nei nuovi brani dell'album Progress. Un allestimento senza precedenti, con un sensazionale corpo di ballo, cambi di costume, laser, video proiezioni e un robot di 22 metri!

United Kingdom released, PAL/Region 2.4 DVD: LANGUAGES: English ( Dolby Digital 2.0 ), English ( Dolby Digital 5.1 ), Hungarian ( Dolby Digital 5.1 ), Arabic ( Subtitles ), Danish ( Subtitles ), Dutch ( Subtitles ), English ( Subtitles ), Finnish ( Subtitles ), Hungarian ( Subtitles ), Icelandic ( Subtitles ), Norwegian ( Subtitles ), Swedish ( Subtitles ), ANAMORPHIC WIDESCREEN (2.35:1), SPECIAL FEATURES: Anamorphic Widescreen, Commentary, Deleted Scenes, Interactive Menu, Scene Access, SYNOPSIS: In mid- to late-'60s Britain, an unusual yet colorful subculture sprang up and thrived as a product of the upswing in British pop music, only to meet its doom within a few short years. Though the BBC functioned as the country's main source of news and music, its programmers offered very little airtime to rock & roll -- which left an overwhelming need unfulfilled. In response, small bands of"pirate" radio enthusiasts set up broadcasting towers on boats just outside of English boundary waters, and transmitted signals to an estimated 25 million listeners, 24 hours a day and seven days per week. Unsurprisingly, the DJs who took charge of these broadcasts could rival just about anyone in terms of flamboyance and outsized personalities. With The Boat That Rocked, writer-director Richard Curtis (Love Actually) travels back to the Swinging Sixties and takes a headfirst plunge into this colorful realm. The story opens in 1966, aboard a rusty fishing trawler christened Radio Rock and equipped with pirate broadcasting equipment. Here, the slightly daft elitist Quentin (Bill Nighy) presides over a motley crew of joint-toking, sex-hungry disc jockeys including Dave (Nick Frost), a heavyset boob who nevertheless considers himself a hot property with women and loves to chase skirts;"The Count" (Philip Seymour Hoffman), an American DJ who aspires to be the first ...The Boat That Rocked ( Good Morning England ) ( Radio Rock Revolution )

Il documento della grande reunion! Il tour che ha superato ogni record in Inghilterra con oltre 1,8 milioni di spettatori!!! Uno show monumentale, come quello visto in Italia allo stadio di San Siro. Per la prima volta insieme dopo 15 anni, Robbie Williams, Gary Barlow, Howard Donald, Jason Orange e Mark Owen si esibiscono spettacolarmente nelle hit della loro carriera, e nei nuovi brani dell'album Progress. Un allestimento senza precedenti, con un sensazionale corpo di ballo, cambi di costume, laser, video proiezioni e un robot di 22 metri!

Franc Roddam's terrifically energetic movie, set to music from the Who's Quadrophenia , is--at the very least, the best film ever based on a rock album (and, yes, that includes Tommy , Pink Floyd: The Wall , and Jesus Christ Superstar ). Actually, this tale of the battle between two early 1960s youth subcultures--Mods and Rockers--in the seaside teenage wasteland of Brighton, isn't so much a cinematic"version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. Quadrophenia is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock. The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. -- Jim Emerson

An irresistible, comic drama from director Alan Parker ( Evita , Mississippi Burning ), overflowing and alive with passion, humor and music, The Commitments showcases some old R&B standards in a new light. A headstrong, fast-talking, ambitious young Dubliner (Robert Arkins) fancies himself a promoter of talent, and sets about assembling and packaging a local Irish R&B band. His group of self-absorbed, backbiting, but stunningly talented individuals begin to succeed beyond his wildest dreams, until petty jealousies and recrimination threaten to scuttle the whole deal. A moody, vivid and soulful exploration of the Dublin club scene as well as a showcase for some wonderful unknown actors, the film (and its wonderful soundtrack) also features the actual band covering classic soul tunes from the likes of Otis Redding and Sam and Dave. It's that combination of soul and soul music that makes The Commitments a special little film. -- Robert Lane, Amazon.com --This text refers to the VHS edition of this video

Only Joel and Ethan Coen, masters of quirky and ultra-stylish genre subversion, would dare nick the plotline of Homer's Odyssey for O Brother, Where Art Thou? , their comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing for hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) to light out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and--well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue and a whole stash of gags both verbal and visual. O Brother (the title's lifted from Preston Sturges' classic 1941 comedy Sullivan's Travels ) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American 30s folk-styles: blues, gospel, bluegrass, jazz and more. And just to prove that the brothers haven't lost their knack for bad-taste humour, we get a Ku Klux Klan rally choreographed like something between a Nuremberg rally and a Busby Berkeley musical. -- Philip Kemp

On the DVD: This two-disc set duplicates the original single-disc release of the film which included a handful of cast and crew interviews, and adds an additional disc with more interviews, two brief behind-the-scenes featurettes about the production design and the post-production digital colouring of the film, a couple of storyboard-to-scene comparisons and a music video of"Man of Constant Sorrow". There's also a 16-minute documentary to promote the companion Down from the Mountain concert. Frankly there's not a lot here to justify spreading it across two discs: a more pleasing not to say generous offering would have been to cram all these extras onto Disc 1 and give us Down from the Mountain as the second disc. -- Mark Walker

If you were to argue Mel Brooks' Young Frankenstein ranks among the top-10 funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks' previous film Blazing Saddles sent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein (1931) and Bride of Frankenstein (1935). Filming in glorious black and white, Brooks recreated the Frankenstein laboratory using the equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for non-stop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It .) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankenstein is a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. No video library should be without a copy of Young Frankenstein . And just remember--it's pronounced"Fronkensteen". -- Jeff Shannon

An energised and passionate, if selective, telling of the story of Chess Records, <em>Cadillac Records</em> is a worthy entry in the niche genre of movies about rock and roll roots. Adrien Brody plays Leonard Chess, who started Chess Records in Chicago in 1947 and turned the label into an important force for blues, rhythm and blues, gospel and, in time, early rock and roll. <em>Cadillac Records</em> focuses on Chess' relationship with his first significant artist, Muddy Waters (Jeffrey Wright), and the label's rise and expansion with the addition of such talents as Little Walter (Columbus Short), Willie Dixon (Cedric the Entertainer), Howlin' Wolf (Eamonn Walker), Chuck Berry (Mos Def) and Etta James (Beyonce Knowles).

Written and directed by Darnell Martin, <em>Cadillac Records</em> captures the scrappy beginnings of an enterprise, and a sound, inventing itself as it goes along. Particularly fun are scenes set in clubs or at Chess' recording facility, where electrified blues never stop pushing the envelope of creative possibility. All the while, danger lurks in shadows or in rivalries between artists; also in the self-destructive streaks of Walter and James, and the sexual fetishes of Berry. But the drama largely centres on the potent connections between all these people, who don't always know where their contribution to a cultural phenomenon is going. One of the film's delights is the way Chess and Waters don't really see rock coming until Berry steps through the door, fusing country music with blues.

The film skips over a lot of facts: there's no sign of Leonard Chess' brother, Phil, who co-owned the company, nor is there much hint of Chess' expansion into a lot of other areas of music. None of that is any big deal. But what <em>Cadillac Records</em> is missing is more of a unifying point of view. The story is told as a recollection by Willie Dixon, but in a scattershot way that doesn't tell us who Leonard Chess or Waters really are. Aside from that, the film is well worth seeing. <em>--Tom Keogh</em>

Filmato in alta definizione alla Victoria Hall di Stoke On Trent nel Luglio 2011, questo concerto segna il ritorno di SLASH nella città in cui è cresciuto con una tappa del suo tour a supporto del suo primo album solista.

Beginning during the dawn of Factory Records--as Tony Wilson throws himself off a cliff for Granada TV-- 24 Hour Party People attempts to capture the essence of the ill-fated label which spawned Joy Division/New Order, The Happy Mondays and the venue that started modern Club Culture, the Hacienda in Manchester. Director Michael Winterbottom takes a very different approach to most music biographies, by making the film self-aware that it is a film and ironically looking at its own role within the history of the"Mad-chester" scene.

Inspired by Wilson's autobiographical musings, the film is narrated in character by Steve Coogan as Wilson. He offers sporadic moments from his life--his"career" as a presenter at Granada and his several marriages--which in turn influence the destructive nature of the label he founded. Coogan's Wilson gives monologues to camera which remind the audience that what they are watching is only his perspective. Yet with Coogan in the title role it's impossible to ignore the similarities between Wilson and Alan Partridge; and although this adds instant humour to the film it also instantly pins Wilson with the comic"Partridge" tag of fated fool. The cinematography, on the other hand, tries faithfully to embody the feeling of the times, from grainy celluloid for the punk-like Joy Division gigs to bright, clean-cut images for the birth of the Hacienda. The film also benefits from an amazing soundtrack and strong supporting characters. It all adds up to a picture that's purely British in character: imbued with irony, down-and-out inspiration, and a touch of the surreal.

On the DVD: 24 Hour Party People comes as a two-disc set, but there really is little need. Disc 1 is loaded with great extras, such as the deleted scenes, commentaries and Mad-chester musings, but the second disc is a little on the dull side. This really could have been just a single great DVD. There's an excellent screen and audio transfer that brings both the music and the lurid colours to life and the disc also offers that all-important function for hardcore clubbers: a hard of hearing option. -- Nikki Disney

Ted Neeley makes for a wimpy looking Jesus in Norman Jewison's screen adaptation of the Andrew Lloyd Webber-Tim Rice"rock opera," which was a smash on stage in the early '70s. Jewison ( Other People's Money ) adds some good exterior settings in the desert, but Lloyd Webber and Rice's dialogue-free story (everything is sung, as in a real opera), with its quasi-profundities about the inner demons of principal figures in the life of Christ, is the real hook. Yvonne Elliman sings the show's best-known song,"I Don't Know How to Love Him." -- Tom Keogh

Filmato in alta definizione alla Victoria Hall di Stoke On Trent nel Luglio 2011, questo concerto segna il ritorno di SLASH nella città in cui è cresciuto con una tappa del suo tour a supporto del suo primo album solista.