The arrival of the worldwide web has no doubt revolutionised how things work. Before, folks would go to their local DVD film rentals shop but now, more and more TV buffs and movie lovers are turning to film rental online services every day.
Unlike online film rentals, we post your movies to you, you send them back to us when you’re done then we’ll post another title from your list.
So, why have so many customers opted for film rentals online over local, bricks-and-mortar video shops?
When you plump for DVD film rentals, you’ll pay a low, set fee every month. When you belong to a local video shop, you can never be sure how many movies you’ll rent in a month, not to mention forgetting to return one and pay a late charge. Your entertainment budget will constantly be in flux.
Unlike driving to the DVD shop to pick up or a return a movie, film rental services will cover the shipping costs for you, both ways. What’s more, you’ll save money on late fees, since you never have to pay them. Even better, especially for movie enthusiasts who watch gazillions of DVDs a month, the cost per film will be significantly lower than renting at the shop.
Using a bricks-and-mortar film shops for your movie and TV series rentals requires no small expenditure of time. Not only do you have to drive (or fight) your way through traffic all the way to the shop, you then have to peruse through all the movies, title-by-title until you find the film you were looking for. Rent a film online, and you’ll only have to build your queue. Finding your desired title is a piece of cake, thanks to being able to type them into the website’s search engine. Add them to your list in seconds with a mere click of the mouse. They’ll then be posted to you asap.
Online film rental services make it possible for you to enhance your overall entertainment experience in a convenient and fun way. You’ll be able to make recommendations, read a useful range of customer and critical reviews, rate movies and even receive recommendations based on your rating and genre preferences.
Rent films as part of our Free Trial offer from our extensive library of over 90,000 titles for free. Explore our rental library by browsing through the genres on the side and if you find something you would like to watch from our films library sign up today and we will rush them to you by post.
True to its title, Martin Scorsese’s Silence is a picture with much contemplation and little reliance on music to push the emotion. When the film opens in darkness, there are no words and only the sounds of a quiet Japanese field. When some Christians are tortured for refusing to apostate, there is no music and very little sound. And when a Jesuit is forced to contemplate the tough decision of renouncing his faith for the lives of others, the soundtrack drops entirely. ... Read full review »
Way back on Monday 7th September 1981, amidst the police and hospital dramas, the light entertainment comedy shows and wildlife documentaries, the BBC transmitted the first of a two-part American TV Movie based on a story by Stephen King. I don’t know what its viewing figures were like, I am not aware of how critically acclaimed it was, but the following day, virtually everyone I knew was talking about it and how frightening it was. Two days later, after the final part aired, it was the only thing people were talking ... see more about. It was, as I remember, a phenomenon. The story: The Marsten House, reputed to be haunted, has long been a source of morbid fascination for writer Ben Mears (an intense David Soul). It is based on the outskirts of the small town of Salem’s Lot, where Mears has returned after many years to write his latest book. Immediately he strikes up a closeness with Susan Norton (Bonnie Bedelia) and gets to know the characters who frequent the community, their relationships with one another and the stories they have to tell. Their lives are so meticulously intertwined that we are easily allowed into their world, into which enters Richard Straker, who is about to open an Antiques Shop there. Straker is played by James Mason, an actor of immense power. Charming, affable, elegant and capable of great evil, Straker is played to perfection. His partner, Mr Barlow, is spoken of in hushed tones, but never seen. Straker observes the peccadillos of the townsfolk from an amused distance, for he has bigger plans. The first part of ‘Salem’s Lot’ puts the pieces into place. In the second, most of the characters die in a series of expertly handled horror set-pieces. The outbreak of vampirism results in wild-eyed, fanged children floating outside the window begging to be let in; a sick hollow-eyed gravedigger, Mike Ryerson (an incredibly sinister Geoffrey Lewis) falling from an upper story window and never hitting the ground; people rising from their graves with a familiar sickly pallor. It is difficult to imagine any of these set-pieces being handled better. Director Tobe Hooper keeps things sinister and uneasy, taking the situations from King’s book and transferring them seamlessly to screen. When we eventually meet Mr Barlow, actor Reggie Nalder’s cadaverous features are well and truly plastered under whitening contact lenses, vampire teeth and Nosferatu-like prosthetics. He is a snarling, inhuman monster, used sparingly – perhaps too sparingly – but never without great effect. ‘Salem’s Lot’ is a triumph on every level and still packs a punch today. Only Marc Petrie (Lance Kerwin) threatens initially to irritate – but then, he is something of an outcast, a bowl-haired horror ‘nerd’ and monster-kid academic. Really, that should endear him, but it doesn’t somehow. Yet his swottish leanings are essential in battling what becomes a town of slavering undead, which he does with considerable expertise. Barlow’s major scene, where he and Straker gate-crash a Priest’s visitation on the Petrie family, where he rises from a black cloak to about 7 feet tall, is one of many highlights. Straker’s patronising name-calling of ‘holy man’ and ‘shaman’, faith against Barlow’s blue-skinned, heavily-veined face, with crucifix proving frighteningly ineffective – all add up to a set-piece of immense proportions, which, like Barlow’s involvement, is over far too soon.
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