A collection of short stories - four previously published and three new - linked by the theme of young people experiencing personal dilemmas....... more

A collection of short stories - four previously published and three new - linked by the theme of young people experiencing personal dilemmas. All are set in South Africa, first under apartheid and then after the first democratic elections. They cover the period from 1950 to 2000 and reflect the lives of a range of young people, black and white, living in what was for many years seen as the world's most openly racist society.

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Fraud, deceit, deception, lying, bankruptcy, infidelity: these are the recurrent themes that concern Jeffrey Archer in his fourth collection of short...... more

Fraud, deceit, deception, lying, bankruptcy, infidelity: these are the recurrent themes that concern Jeffrey Archer in his fourth collection of short stories, To Cut a Long Story Short. Of the 14 stories gathered here, nine are asterisked as being "based on true incidents" but the whole collection is remarkable for the extent to which Archer's own chequered career finds echoes in his fiction. In "Crime Pays", Kenny Merchant--"that wasn't his real name, but then, little was real about Kenny" finds an ingenious loophole in the Data Protection Act to make a financial killing, whilst in "The Letter" a wife enjoys reading a kinky love letter from her lover (a well-known novelist) in front of her husband. Her lover recalls making love in "the loo at the Caprice" and fantasises about "being tied to a four-poster bed, with you standing over me in a police sergeant's uniform". In one of the few stories that does not involve people conning one another, "The Grass is Greener", the moral of the story appears to be that the head of an international bank experiences more pain and personal turmoil than Bill the beggar who sits on the street outside. In A Change of Heart, a racist white South African devotes himself to doing good for the black community after receiving a black man's heart following a near-fatal car accident. Archer's fans will undoubtedly enjoy this collection but other readers may find its relish for duplicity rather dubious or at best find its sentimental morality rather cloying. --Guy Smit

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Fraud, deceit, deception, lying, bankruptcy, infidelity: these are the recurrent themes that concern Jeffrey Archer in his fourth collection of short...... more

Fraud, deceit, deception, lying, bankruptcy, infidelity: these are the recurrent themes that concern Jeffrey Archer in his fourth collection of short stories, To Cut a Long Story Short. Of the 14 stories gathered here, nine are asterisked as being "based on true incidents" but the whole collection is remarkable for the extent to which Archer's own chequered career finds echoes in his fiction. In "Crime Pays", Kenny Merchant--"that wasn't his real name, but then, little was real about Kenny" finds an ingenious loophole in the Data Protection Act to make a financial killing, while in "The Letter" a wife enjoys reading a kinky love letter from her lover (a well-known novelist) in front of her husband. Her lover recalls making love in "the loo at the Caprice" and fantasises about "being tied to a four-poster bed, with you standing over me in a police sergeant's uniform". In one of the few stories that does not involve people conning one another, "The Grass is Greener", the moral of the story appears to be that the head of an international bank experiences more pain and personal turmoil than Bill the beggar who sits on the street outside. In "A Change of Heart", a racist white South African devotes himself to doing good for the black community after receiving a black man's heart following a near-fatal car accident. Archer's fans will undoubtedly enjoy this collection but other readers may find its relish for duplicity rather dubious or at best find its sentimental morality rather cloying. --Guy Smit

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In this book you will meet an Appalachian dragon, a phantom geocacher, a racist halfling, a torturer of paintings, a homicidal gator-man, the devilÕs...... more

In this book you will meet an Appalachian dragon, a phantom geocacher, a racist halfling, a torturer of paintings, a homicidal gator-man, the devilÕs son-in-law, the King of the Tramps, the Wizard of the Blue Ridge, a chicken named Jesus Christ, and the first Haitian Zombie ever photographed, as well as Yuri Gagarin, Harry Houdini, Zora Neale Hurston, Flannery OÕConnor, and Sun Records headliners the Prisonaires, live from the Tennessee State Penitentiary in Nashville. The appearance of the Space Brother Bob Solomon is unconfirmed, but we can always hope.

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A collection of short stories - four previously published and three new - linked by the theme of young people experiencing personal dilemmas....... more

A collection of short stories - four previously published and three new - linked by the theme of young people experiencing personal dilemmas. All are set in South Africa, first under apartheid and then after the first democratic elections. They cover the period from 1950 to 2000 and reflect the lives of a range of young people, black and white, living in what was for many years seen as the world's most openly racist society.

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In this book you will meet an Appalachian dragon, a phantom geocacher, a racist halfling, a torturer of paintings, a homicidal gator-man, the devilÕs...... more

In this book you will meet an Appalachian dragon, a phantom geocacher, a racist halfling, a torturer of paintings, a homicidal gator-man, the devilÕs son-in-law, the King of the Tramps, the Wizard of the Blue Ridge, a chicken named Jesus Christ, and the first Haitian Zombie ever photographed, as well as Yuri Gagarin, Harry Houdini, Zora Neale Hurston, Flannery OÕConnor, and Sun Records headliners the Prisonaires, live from the Tennessee State Penitentiary in Nashville. The appearance of the Space Brother Bob Solomon is unconfirmed, but we can always hope.

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Afrikaans author Marlene Van Niekerk lived for a time in Triomf, the white working class suburb of western Johannesburg built on the bulldozed rubble of...... more

Afrikaans author Marlene Van Niekerk lived for a time in Triomf, the white working class suburb of western Johannesburg built on the bulldozed rubble of Sophiatown, once one of black South Africa's cultural heartlands. Whilst gardening she kept digging up its remnants, just like one of the characters in her novel Triomf, which excavates the lives of the impoverished poor white culture that superseded it. Sophiatown boasted names like Masekela and Mandela amongst its cultural riches but the Benades family inhabit a far from triumphant world of cheap brandy and coke, kaput cars, irreparable fridges and broken political promises.Mol, Treppie, Pop and Lambert Benades inhabit a crumbling government house that is all they own apart from each other. Mol, abused and ageing, is comforted only by her beloved mongrels, her numbed resilience as forlorn as her buttonless housecoat. Alienated, articulate Treppie, "a devil with a twist, a twisted devil", furiously turns his frustrated intellectual abilities against his family. Pop, shuffling bemusedly between sleep and waking, tries to remember his lies as he slips towards death. All of them protect the doltish, violent, voyeuristic Lambert, the epileptic progeny of parents who constantly reinvent fantasy stories, disguising a family secret that is a narrative time bomb waiting to explode into the heart of the novel. "We have each other and nothing else", is their refrain, a catchphrase for the survival of a demoralised family adrift from the tide of change, where incest has become a metaphor for the crooked logic of obsessive racial purity, just as the topographical layering of Triomf over Sophiatown becomes a guiding metaphor for the social architecture of apartheid.Triomf depicts apartheid racism with an uncompromising exactness that has sometimes been lost in white South African writing in English slanted towards a middle class perspective. As the Benades veer between aggressive passivity and directionless activity terrorising each other and their neighbours, Van Niekerk invites the reader to despise the narrowly ignorant sensibilities evoked by their racist vernacular, whose idiom is skilfully echoed in poet Leon de Kock's meticulous translation. Whilst the novel makes no pretences about the ugliness of racism, its radical success lies in the way it starkly realises the hard reality that the Benades' position as whites gives them few privileges. Van Niekerk tells their story in a bleakly hilarious mode of comic degradation that captures strikingly the unexalted expectations of a forgotten class. Theirs is the desperation of those who have nothing to lose, of an underclass who have only the vaguest recollection of self-respect and just treatment for others and themselves. For the armblankes (poor whites), she shows, notions of superiority were built on nothing but the detritus of another culture and the promises of betterment peddled in the weak Romanticism of blood-and-soil nationalism byoudentlik (proper, middle class) Afrikaners, empty illusions described by Treppie as, "the fine print of fuck-all." Although Triomf is a startlingly comic yet salutary reminder of the sustenance racism gives to class inequalities, it stops short of representing the social rehabilitation of South Africa's poor whites. In what is possibly the first truly post-apartheid novel by a white writer deserving the description, Van Niekerk opts wisely to leave the hopes of reconciliation beyond the boundaries of her fictional excavation of the suburbs of truth.--Rachel Holmes

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Dave Robinson's brief introductory text explaining Nietzshe's importance to postmodern thinking is a fine primer for the undergraduate or the generally...... more

Dave Robinson's brief introductory text explaining Nietzshe's importance to postmodern thinking is a fine primer for the undergraduate or the generally uninitiated. It builds and extends on the information in the best-selling Introducing Postmodernism. By declaring the death of God, the greatest of the grand narratives-- stories which we tell to orient ourselves in the world and explain its machinations--Nietzsche believed humanity would be plunged into a valueless, nihilistic abyss. Postmodernism's radical doubt thus traces its genealogy back to the poetry and aphorisms of an anti-philosopher only recently rehabilitated, rescued from earlier racist misreadings by his association with the thought of Foucault, Derrida, Lyotard and the rest of the French school. In a number of short, pithy paragraphs Robinson steers a course through Nietzche's invigorating, if contradictory, ouevre and explains how the previously reviled thinker has come to have such a central place in modern thought. --Mark Thwaite

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Complaining that Ryan's comics are grossly offensive, stupid and juvenile is like complaining that water is wet: that's the entire point. The raison d'etre of...... more

Complaining that Ryan's comics are grossly offensive, stupid and juvenile is like complaining that water is wet: that's the entire point. The raison d'etre of Ryan's work is pushing beyond the limits of tasteless humor into pure gross-out overload; the joke isn't the punch line itself, but how horrible the punch line is. This collection mostly compiles short stories from his Angry Youth Comics series, featuring recurring characters Boobs Pooter, Blecky Yuckerella, Loady McGee and Sinus O'Gynus, as well as his single-panel gag cartoons. (Sample caption: Whoa! Check out the size of the tits on that concentration camp! Actually, most of Ryan's jokes are unrepeatable in this magazine.) Ryan's sense of outrageousness is as tediously limited as a sixth-grader's; his repertoire is almost entirely excretory and/or sexual, with the odd decapitation or racist gag thrown in for variety. Occasionally, there's a flash of actual wittiness, like his brief, scatological condensations of Charles...

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Spain released, PAL/Region 2 DVD: LANGUAGES: English ( Dolby Digital 2.0 ), Spanish ( Dolby Digital 2.0 ), English ( Subtitles ), Spanish ( Subtitles ), SPECIAL...... more

Spain released, PAL/Region 2 DVD: LANGUAGES: English ( Dolby Digital 2.0 ), Spanish ( Dolby Digital 2.0 ), English ( Subtitles ), Spanish ( Subtitles ), SPECIAL FEATURES: Biographies, Filmographies, Interactive Menu, Scene Access, Trailer(s), SYNOPSIS: Susanna Styron made her feature directorial debut with this family drama, an adaptation of a 1978 short story by her father, novelist William Styron (Sophie's Choice). Paul Whitehurst (voice of Martin Sheen) recalls Depression-era events in Tidewater, Virginia, when he was ten years old. In the summer of 1935, lonely young Paul (Scott Terra), with his strict father (Darrell Larson) and fatally ill mother (Deborah Hedwall), is raised in a boring, middle-class way of life, so mundane it leads him into a friendship with the lower-class Dabneys, once aristocratic but now reduced to poverty on the former Dabney plantation. Bootlegger Vernon (Harvey Keitel) is married to earthy beer-drinking Trixie (Andie MacDowell), and Paul enjoys the fun-loving lifestyle of this couple and their seven children. Shadrach (John Franklin Sawyer), a 99-year-old former slave, turns up one day at the Dabney house after walking barefoot from Alabama to Virginia, where he was born into slavery. Since Shadrach's wish to be buried on the Dabney's land violates Virginia law, the request sets a variety of racist attitudes and conflicts into motion. Shown at the 1998 LA Independent Film Festival. ...Shadrach

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made;...... more

Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer

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Till the Clouds Roll By was the big MGM extravaganza of 1946, purporting to be a life of the first giant of the stage musical, Jerome Kern. Great chunks of Show...... more

Till the Clouds Roll By was the big MGM extravaganza of 1946, purporting to be a life of the first giant of the stage musical, Jerome Kern. Great chunks of Show Boat, Sweet Adeline and Sunny dominate while, in between excerpts, reliable Robert Walker does valiant work as Kern, lending a gentle credibility to even the most extravagant licenses taken by the writers. The liberties taken with Kern's story beggar belief, but what a fine excuse this is to sit back and enjoy a procession of gems from the great American songbook, performed by genuine legends. Judy Garland has two numbers as Marilyn Miller, both directed by husband Vincente Minnelli at the peak of their creative and personal relationships. Singing "Who?", she has to float down the proverbial staircase, obviously pregnant (Liza was born a short time later). Others to shine include Kathryn Grayson, June Allyson, Dinah Shore and, more bizarrely, a skinny young Sinatra drafted in at the last for a rousing "Old Man River". Most poignant of all is the presence of Lena Horne who, but for the racist values of Hollywood at the time, would have been a great film star. Ever confined to guest appearances, she here sings the songs of Show Boat's tragic half-caste Julie. When MGM filmed the musical in 1951, the same part went to Ava Gardner. On the DVD:Till the Clouds Roll By may boast digital remastering, but it could have done with a deal of restoration, too. Presented in 4:3 format, the picture quality is often pixellated and the soundtrack in "HiFi Stereo" is muffled and occasionally cracked. Considering its value as an archive of great performers, some rarely seen on film, this film deserves better DVD treatment. --Piers Ford

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Set during the summer of 1983, THIS IS ENGLAND is the poignant story of Shaun (Thomas Turgoos) an unpopular kid who discovers a sense of belonging among a group...... more

Set during the summer of 1983, THIS IS ENGLAND is the poignant story of Shaun (Thomas Turgoos) an unpopular kid who discovers a sense of belonging among a group of peaceful skinheads. Having lost his father during the Falklands Conflict, Shaun sees something of a father figure in Woody (Joseph Gilgun), the gang's leader. However, the warmth and affection is short-lived, as Combo (Stephen Graham) - a former member of the group, and radical right-wing racist is released from prison and divides the friends with his deeply disturbed outlook. Whereas Woody had strived to bring everyone together through their love of music, Combo seeks to mobilise a force, with his sights set on spreading chaos and hatred. At only 12 years of age, and of volatile frame of mind, Shaun is susceptible to Combo's charismatic, yet gravely dangerous philosophising. As adulthood beckons and with Combo's rage manifesting into stark violence, Shaun will have to decide which side of the line he's going to stand. The sixth feature from writer/Director Shane Meadows (A ROOM FOR ROMEO BRASS, DEAD MAN'S SHOES), THIS IS ENGLAND is a bitter-sweet rites of passage tale that is destined to be remembered for years to come.

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