Featuring interviews by famous fans and followers, this rare documentary encapsulates the essence of the controversial, enigmatic, and deliciously melancholic bard.

Bachelor Jack Worthing and his best mate Algernon Moncrieff hope to marry society’s most eligible ladies, Gwendolen Fairfax and Cecily Cardew. But the lads’ courtship of the women is far from straight forward! With double identities, plenty of ‘Bunburying’ and a number of hostile encounters with the formidable Lady Bracknell, the pair become embroiled in a web of mistaken identities with hilarious consequences.

This was a reasonable documentary that caught up with '80s pop maverick Morrissey, who now lives in the lap of luxury in America. Still worshipped by legions of fans, lauded by trendy music critics and name-dropped by lots of recent bands, Morrissey remains a controversial and rather strange character. He proved in this documentary that he is still as funny and as acerbic as ever, although the music certainly isn't as fresh, vibrant or interesting as it was in the Smiths. The problem with the documentary, though, is that it demonstrated quite clearly that he still tends to stand against much more than he stands for. His devotion to vegetarianism has remained consistent, but his status as a political artist has no substance. He criticises Tony Blair and the Royals, just as he criticised Mrs Thatcher and the Royals back in his prime, but he offers no constructive, viable political views. He just criticises for the sake of it while living in opulence. He now represents the kind of wealth, luxury and smugness that his fans detested about his '80s pop contemporaries. 　　A funny, entertaining figure? Certainly. But a credible spokesman on the world's problems who should be taken as seriously as he obviously is by many? This documentary did nothing to quell my doubts about that.

This was a reasonable documentary that caught up with '80s pop maverick Morrissey, who now lives in the lap of luxury in America. Still worshipped by legions of fans, lauded by trendy music critics and name-dropped by lots of recent bands, Morrissey remains a controversial and rather strange character. He proved in this documentary that he is still as funny and as acerbic as ever, although the music certainly isn't as fresh, vibrant or interesting as it was in the Smiths. The problem with the documentary, though, is that it demonstrated quite clearly that he still tends to stand against much more than he stands for. His devotion to vegetarianism has remained consistent, but his status as a political artist has no substance. He criticises Tony Blair and the Royals, just as he criticised Mrs Thatcher and the Royals back in his prime, but he offers no constructive, viable political views. He just criticises for the sake of it while living in opulence. He now represents the kind of wealth, luxury and smugness that his fans detested about his '80s pop contemporaries. 　　A funny, entertaining figure? Certainly. But a credible spokesman on the world's problems who should be taken as seriously as he obviously is by many? This documentary did nothing to quell my doubts about that.

A wonderful retrospective supplement that features much of the primary cast cast as well as Writer/Director John Singleton looking back at the picture's history and legacy. They speak on the themes of the film, the casting process, its importance then and now, its reception upon release, the project's novelty, its placing in the National Film Registry, and more. There's no shortage of good insight here and the piece does a fine job of encapsulating what Boyz n the Hood is all about.

A wonderful retrospective supplement that features much of the primary cast cast as well as Writer/Director John Singleton looking back at the picture's history and legacy. They speak on the themes of the film, the casting process, its importance then and now, its reception upon release, the project's novelty, its placing in the National Film Registry, and more. There's no shortage of good insight here and the piece does a fine job of encapsulating what Boyz n the Hood is all about.

Leonardo Da Vinci and his muse the Mona Lisa must stand up to the interrogation of their worth in our modern world.

Leo the Lion is a sequel to the Japanese-American co-produced series "Jungle Emperor", or Kimba the White Lion. Osamu Tezuka had always wanted his story of Kimba to follow Kimba's entire life, and the Jungle Emperor/Kimba series was such a hit in Japan that Dr. Tezuka produced a sequel, without his American partners, in 1966.Making the series without a co-producer gave him complete creative control. For example, Dr. Tezuka changed the conclusion of his original manga story to a happy ending.Leo the Lion does not follow immediately from the end of the Kimba series. Instead, the story begins a couple of years following the end of the previous series. To English-speaking audiences, the behavior of the title character is inexplicably out of line with what was established in the first series. At the end of the first series, in the original Japanese script, Kimba promises to keep his animals separate from humans. It is this promise that drives the seemingly hermit-like Leo in this series.As the series unfolds, the focus shifts from the title character to one of his cubs, the male named Rune. This series as a whole is about Rune's growth, from a whining weakling to a confident leader.

A dramatization of two generations of the Viennese Strauss family, whose dance music and operettas dominated much of Europe and beyond for most of the 19th century.

Alex's high opinion of himself isn't backed up by reality as he is unemployed and having trouble with his girlfriend. When he finally gets a job with the local council/municipality of Hudiksvall his life is about to change. Suddenly Alex finds himself the leader of a local theatre group of people with learning difficulties. Through their work together, Alex comes to appreciate that we all have our own talents which can grow if given the opportunity and support. "The Importance of Tying Your Own Shoes" is based on the work of the Glada Hudik Theatre whose performances have met with success in Sweden and internationally since it was formed in 1996.