Owen Wilson shop

OWEN WILSON - Licensed Photo - Professional Photographic Print - Picture SIZE 10x8" (25x20cm)
If you are a fan of movies and looking for a memento from your favourite film - or that perfect gift for the fan that has everything, you are sure to find something from our incredible range of on set, studio and authentic photographic memorabilia. We only use professional printing equipment, expert methods and materials to produce the highest quality and resolution black and white and stunning colour photographs that you can be proud to display in your home cinema/theatre, living room on your office desk or around the home.

Ravel: L'Enfant et les sortilèges/Ma Mère l'Oye

The Operas Dm24

Britten conducts Britten: Opera Vol.1

Armageddon [1998]
This 1998 testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) continued Hollywood's millennium-fuelled fascination with the destruction of our planet. There's no arguing that the successful duo understand what mainstream audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid-fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but, of course, lovable) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishising of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also try to lure the art-house crowd, raiding the local indie acting stable to populate the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humour and charisma.

When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable female characters--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'". Sadly, she's a hell of a lot more developed and unpredictable than all the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? --Dave McCoy

Meet The Parents [2000]
Randy Newman's opening song, "A Fool in Love", perfectly sets up the scenario of Meet the Parents: "Show me a man who is gentle and kind and I'll show you a loser". Greg Focker (Ben Stiller) is the fool in love. Just as he's about to propose to his girlfriend Pam (Teri Polo), he learns that her sister's fiancé asked their father, Jack Byrnes (Robert De Niro), for permission to marry. Now he feels the need to do the same thing. When Greg meets Jack, he is so desperate to be liked that he makes up stories and feebly attempts to ingratiate himself with his prospective father-in-law rather than having the courage of his convictions. It doesn't take an elite member of the CIA to see right through Greg, but unfortunately that's precisely what Jack is. Directed by Jay Roach (the Austin Powers films), Meet the Parents is a well-crafted comedy that makes for a pleasant contrast to the sloppy excesses of the Farrelly brothers. Stiller is great at playing up the uncomfortable comedy of errors, balancing just the right amount of selfishness and self-deprecating humour, while De Niro's excels as the intimidating father. Blythe Danner as his wife, the Gracie to De Niro's George Burns, is the true heart of the film and Owen Wilson turns in yet another terrific comic performance as Pam's ex-fiancé. --Andy Spletzer, Amazon.com

Shanghai Noon [2000]
Story? What story? All a film like Shanghai Noon needs is the amazing stunt set pieces featuring kung fu superstar Jackie Chan and the ramblings of Owen Wilson (and to be sure, that's all it gets). It's a buddy comedy about Roy O'Bannon (Wilson), a minor, borderline incompetent desperado, and Chon Wang (Chan--Roy thinks he hears (and scoffs at) the name "John Wayne"--a member of the Chinese Imperial Guard searching for a kidnapped princess (Lucy Liu). They become reluctant partners in the Old West (Roy, who considers Chon his sidekick, is hurt to discover that the bounty on Wang's head is more than his own), brawling, drinking, bathing and bonding and in general having mildly amusing adventures together, while eluding a posse and other random enemies.

There's not a lot of focus to the plot or much motivation for characters to turn up where and when they do--just what was achieved by the much-discussed trek to Carson City, anyway?--but Chan's inventively staged battle sequences (particularly an early one in which he uses flexible, resilient trees to best some Crow Indians) are predictable highlights. You'll wish there were more to some of them, but as with his many other films, you'll want them on video to watch in slow-motion to see how he pulls them off. And in a potentially star-making role, Wilson's loquacious, hyper-self-conscious meanderings--he's funny even when his lines aren't--make him seem less like a character than a very amusing deconstruction of one. Chan and Wilson are entertaining together, even though they're both off in their own little worlds. Think of it as Butch Cassidy and the Shanghai Kid, and you won't be too far off. --David Kronke, Amazon.com

The Darjeeling Limited [2007]
Family tension again provides dramatic comedy in Wes Anderson's new film, The Darjeeling Limited, about three American brothers travelling by train to find their reclusive mother in rural India. Like The Royal Tenenbaums, this film succeeds because of its smart, funny script in addition to the visual beauty of India and its luxurious locomotive transportation. In Darjeeling, the oldest brother, Francis (Owen Wilson), blackmails his two younger siblings, Peter (Adrien Brody), and Jack (Jason Schwartzman), into travelling to a monastery where their mother, Patricia (Anjelica Huston), has been in hiding as a nun. Supposedly embarking on a spiritual quest, the three men reminisce about the recent death of their father, and the family's irreconcilable problems previous to their reunification. Though they do find Patricia, Francis, Peter, and Jack grow immensely from another brush with death, this time an Indian boy they try to rescue, giving the film an added conceptual depth that Anderson's previous films have been accused of lacking.

Co-written by Roman Coppola, The Darjeeling Limited is a finely-tuned critique of American materialism, emotional vacuity, and lack of spiritualism, presented in ironic twists and gorgeous cinematography and lighting recalling Altman's McCabe & Mrs. Miller. A lovely, poignant sequence occurs while the three brothers attend a traditional Indian funeral, and flash back to their father's one year prior. Moreover, the film's soundtrack culled from Satyajit Ray's films and vintage Kinks gives the film a timeless feel, removing it from the predictable indie rock scoring of independent releases. By far Anderson's best film thus far, The Darjeeling Limited offers a much-needed dose of cultural self-reflection, pillared against India's ever-evolving yet ancient religious backbone. --Trinie Dalton, Amazon.com

Meet The Parents & Meet The Fockers Box Set [2000]

Armageddon: Re-mastered Edition (2 Disc Set) [1998]
This 1998 testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) continued Hollywood's millennium-fuelled fascination with the destruction of our planet. There's no arguing that the successful duo understand what mainstream audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid-fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but, of course, lovable) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishising of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also try to lure the art-house crowd, raiding the local indie acting stable to populate the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humour and charisma.

The River Thames Map (Imray Map)

Born Gay?: The Psychobiology of Sex Orientation

King Abdullah, Britain and the Making of Jordan (Cambridge Middle East Library)