The wild west just got wilder and a whole lot wackier! James Garner is back in the saddle again in Support Your Local Gunfighter, a powder keg of laughs in which the most dangerous gunslinger in the west isn’t the fastest but the funniest! Gigolo con man Latigo Smith (Garner) needs to get something off his chestthe tattooed name of his most recent ex-fiancÃ(c)e. But while he’s waiting for the local doctor to sober up and perform the operation, Smith overhears that local mining baron Taylor Barton (Harry Morgan) is looking to shut down his mining competition by hiring the notorious gunman, Swifty Morgan. Seizing the opportunity for an easy con, Smith passes off a reprobate cowhand (Jack Elam) as the dreaded Swifty and pockets the cash. Bankroll in hand, he plans to head for the hills until he falls for Barton’s pistol-packin’ daughter, Patience (Suzanne Pleshette). But when the real Swifty shows up looking for blood, Smith comes up with an outrageous scheme to save his hide, stop the mining feud and win over Patience and it might just work if it doesn’t blow up the entire town!

He’s a player. She’s being played. Is true love in the cards? Legendary leading man Sidney Poitier and Broadway sensation Abbey Lincoln sizzle in this hip, stylish and sexy romance. Boasting an all-star supporting cast, including Beau Bridges and Carroll O’Connor and a jazzy, Oscar – nominated* song, this one-of-a-kind love story is “excellent entertainment” (Soul Illustrated). When high-rolling hustler Jack Parks (Poitier) is blackmailed into seducing a client’s naive young housekeeper, love is the last thing on his mind. But Jack has never met anyone like Ivy Moore (Lincoln) and now he’s really beginning to care for her just as she discovers the truth! *1968: Original Song, “For Love of Ivy”

Psychiatrist Jonathan Kingsley is an expert on the problems of the adolescent – unless that adolescent is his own daughter. In his best I-only-think-I’m-in-control fashion, David Niven plays the exasperated doc and Cristina Ferrare is his rebellious offspring in this ’60s generation-gap comedy – complete with long hair, peace symbols and campus protests – based the stage hit by Bob Fisher and Arthur Marx. Dr. Kingsley frets over his daughter’s interest in the opposite sex, especially when she suddenly and inexplicably changes from wild to womanly. Has she or hasn’t she…? Director Michael Gordon uses the naughty-but-nice touch he brought to Pillow Talk to keep the comic shenanigans grooving along.

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Writer-director Alan Parker’s feature debut Bugsy Malone is a pastiche of American movies, a musical gangster comedy set in 1929, featuring prohibition, showgirls, and gang warfare, with references to everything from Some Like It Hot to The Godfather. Uniquely, though, all the parts are played by children, including an excellent if underused Jodie Foster as platinum-blonde singer Tallulah, Scott Baio in the title role and a nine-year-old Dexter Fletcher wielding a baseball bat. Cream-firing “spluge guns” sidestep any real violence and the movie climaxes cheerfully with the biggest custard pie fight this side of Casino Royale (1967).

Unfortunately for a musical, Paul Williams’s score–part honky-tonk jazz homage, part 1970s Elton John-style pop–lets the side down with a lack of memorable tunes. Nevertheless, Parker’s direction is spot on and the look of the film is superb, a fantasy movie-movie existing in the same parallel reality as The Cotton Club and Chicago. A rare British love letter to classic American cinema, Bugsy Malone remains a true original; in Parker’s words “the work of a madman” and one of the strangest yet most stylish children’s films ever made. –Gary S. Dalkin

Un anello che appartiene a dei seguaci della Dea Kalì finisce per sbaglio nella mano destra di Ringo Starr, il batterista dei Beatles. Inizia così una caccia all’uomo (anzi, all’anello) che parte da Londra e finisce alle Bahamas, passando per le Alpi svizzere. Nell’inseguimento sono coinvolti anche degli scienziati che vogliono l’anello per diventare famosi.

Hen’s Tooth Video proudly presents two of the most successful Spaghetti Westerns ever made in a boxed set edition. Terence Hill (Mario Girotti) and Bud Spencer (Carlo Pedersoli) star in these wildly popular spoofs of the Italian Western genre. THEY CALL ME TRINITY and TRINITY IS STILL MY NAME are presented here for the first time in their theatrically correct anamorphic widescreen ratios, mastered from magnificent Technicolor prints. These comedies paved the way for Mel Brooks’ Western send-up Blazing Saddles and made international superstars out of the team of Hill and Spencer, ushering in a twenty-five year association for the two actors. Together and separately they worked with some of the best Italian directors in the business (Sergio Leone, Sergio Corbucci, and Luchino Visconti). The Trinities were followed by hits like Crimebusters, Miami Supercops, Odds and Evens and countless others. Sit back and enjoy a double dose of Western comedy, Italian style!

TRINITY Twin Pack Includes BOTH Features * 214 minutes * English Dubbed * Widescreen (Anamorphic 2.35:1) Features Include: Original Theatrical Trailers * Photo Gallery of Lobby Cards * New Digital Transfers from the Original Negatives. Program content ©1970 ©1971 Rocca delle Macie All Rights Reserved. Distributed by Hen’s Tooth Video. Licensed for United States and Canada * NTSC Region 1

The Fab Four from Liverpool–John Lennon, Paul McCartney, George Harrison, and Ringo Starr–in their first movie. Nobody expected A Hard Day’s Night to be much more than a quick exploitation of a passing musical fad, but when the film opened it immediately seduced the world–even the stuffiest critics fell over themselves in praise (highbrow Dwight Macdonald called it “not only a gay, spontaneous, inventive comedy but it is also as good cinema as I have seen for a long time”). Wisely, screenwriter Alun Owen based his script on the Beatles’ actual celebrity at the time, catching them in the delirious early rush of Beatlemania: eluding rampaging fans, killing time on trains and in hotels, appearing on a TV broadcast. American director Richard Lester, influenced by the freestyle French New Wave and British Goon Show humor, whips up a delightfully upbeat circus of perpetual motion. From the opening scene of the mop tops rushing through a train station mobbed by fans, the movie rarely stops for air. Some of the songs are straightforwardly presented, but others (“Can’t Buy Me Love,” set to the foursome gamboling around an empty field) soar with ingenuity. Above all, the Beatles express their irresistible personalities: droll, deadpan, infectiously cheeky. Better examples of pure cinematic joy are few and far between. –Robert Horton

The Italian Job (2003)
Though it bears little resemblance to the original 1969 thriller starring Michael Caine, the 2003 remake of The Italian Job stands on its own as a caper comedy that’s well above average. The title’s a misnomer–this time it’s actually a Los Angeles job–but the action’s just as exciting as it propels a breezy tale of honor and dishonor among competing thieves. Inheriting Caine’s role as ace heist-planner Charlie Croker, Mark Wahlberg plays straight-man to a well-cast team of accomplices, including Mos Def, Jason Statham, and scene-stealer Seth Green in a variation of the role originally played by Noel Coward. As the daughter of Croker’s ill-fated mentor (Donald Sutherland), Charlize Theron is recruited to double-cross a double-crosser (Edward Norton in oily villain mode), and once again, speedily versatile Mini Coopers play a pivotal role in director F. Gary Gray’s exhilarating car-chase climax. It’s perhaps the greatest product placement in movie history, and just as fun the second time around. –Jeff Shannon

The Italian Job (1969)
This little-known cult caper is about as depraved as they come. Michael Caine, ever the enterprising swinger and swindler, has an ingenious plan to steal a huge cache of Chinese gold to be shipped to Turin as collateral for a new Fiat plant. Since the Italy-Great Britain soccer match is being played at the same time, Caine wants to create a diversion in the form of a monumental traffic jam. For financing, he turns to Noel Coward, who directs British criminal enterprises from his jail cell. A motley crew is assembled, including Benny Hill as a computer expert with a fetish for large-breasted women. It’s all a nasty and fun parody, with the most memorable robbery-chase sequence in the history of the caper genre. –Bill Desowitz

A comedy.

Rosalind Russell reprises her role as the wry but wise mother superior challenged by her fun loving students.

A fading comedian and a suicidally despondent ballet dancer must look to each other to find meaning and hope in their lives.

The story goes like this…. Rahul (Shahrukh Khan) and Anjali (Kajol) are the best of buds in college. Tina (Rani Mukherjeei) is the Principal s London-return  beti . Rahul falls in love with Tina and vice versa. Unaware of this, Anjali has also fallen for her best friend. When she finds out that Rahul is not in love with her, Anjali leaves. Rahul and Tina get married; have a baby girl and Tina dies. Eight years later Tina retells the love story to her daughter through a letter written during her last days. Tina urges the daughter to find Anjali and unite her with Rahul.

Please note that this is a PAL, Region 2 DVD and requires PAL or multi-system capable DVD player. It will not play on standard North American DVD players. Please read the item technical description carefully. ———————————– Synopsis: In School for Scoundrels wimpy Ian Carmichael wants to impress girls and get one over on all-round show-off and cad Terry Thomas (playing gloriously to type). Discovering Alastair Simms’ unorthodox school Carmichael happily enrols and learns the quaint tricks of the day for securing the admiration of a fair lady. Ultimately as a star pupil he teaches the Master a thing or two about true love when everything turns out just fine in the end. Appealing to all male sensibilities is the idea of a magical set of simple rules for winning someone’s affections. Set in the tweed-rich environment of an English boarding school makes this an even quainter notion. To watch this classic comedy is to cock one’s snoot at womanisers everywhere while unavoidably making a mental list of anything that might actually work! The three central performances are brilliantly realised, particularly the role reversal between Carmichael and Thomas. Try playing a tennis match after a viewing without calling “hard cheese”.

When Ching-Ching’s (Shirley Temple) missionary guardians are killed by Chines bandits, she must fend for herself on the streets of Shanghai. Taking refuge from the rain in a car’s open trunk, Ching-Ching wakes up to find the car on a ship bound for America. The car’s owner (Robert Young) is thoroughly charmed by the lost child, and proposes a temporary marriage to another passenger (Alice Faye) in order to give her a proper home. But when the two adults meet in divorce court, it’s up to Ching-Ching to make them realize that they are in love.