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Thomas Jefferson - (Feb 25th)
The Last Word with Lawrence ODonnell - (Feb 25th)
The Chefs Garden - (Feb 25th)
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The Chase - (Feb 25th)
Seoul Busters - (Oct 2nd)
The Bay - (Oct 2nd)
The Kelly Clarkson Show - (Oct 2nd)
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Great British Menu - (Feb 25th)
The Bachelor - (Feb 25th)
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Celebrity IOU - (Feb 25th)
Contraband- Seized at the Border - (Feb 25th)
Maine Cabin Masters - (Feb 25th)
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**A very dated and unsatisfactory film, which carries a rather naive message about war and conflicts.** This is one of those films that promises a lot when we read the synopsis, but ends up being disappointing: in its attempt to please different audiences, from sci-fi to drama and also action, it fails to satisfy anyone and I believe it was this feeling, more or less general, that led it straight to the oblivion bin where I found it. Released in the golden age of sci-fi, when the genre experienced a very notable development and popularity, the film has a relatively warm story and begins with a war between humans and a reptilian alien species called “drac”. We follow the combat between two spaceships in a remote part of the universe until they both crash on the same planet. From here on, in order to survive, both will have to collaborate with each other, which opens the door to dialogue and mutual understanding. I can understand what makes some people appreciate this film or want to see it: it has some good quality action that Wolfgang Petersen's solid direction emphasizes and enhances, and a script with a flowery and progressive message about prejudice and the importance of having a frank and open dialogue. That is, the film still comes in the aftermath of those ideas of peace and love from the 70s, where it seemed that all wars could end if there was a willingness to talk and understand whoever was on the opposite side. However, neither the script nor the director are flawless: the film is excessively slow and has a variable and inconstant rhythm, we feel that it wastes time with a sentimentality worthy of a soap opera and injects a lot of melodrama without any advantage, like those people who stay for ten minutes talking before getting to what matters. With all this, the action, although good, is scarce and does not justify the film for fans of a good space fight. And the message of peace underlying the script forgets that all wars begin due to conflicts of interest, not exactly due to a lack of dialogue and mutual prejudices: I can understand my enemy very well and think that war is horrible, but decide to fight anyway if consider that I have a good chance of winning and, thus, have access to an advantage or gain that I would not be able to obtain otherwise. Despite Dennis Quaid's sound and fame, the best actor in the film is Louis Gossett Jr., in an alien costume. The actor is not brilliant, he is average, but he manages to be incredible in the role, especially when he has an immature and charisma-free scoundrel like Quaid at his side. I've seen a few movies with him, and what he does here is essentially overact it and look stupid. Brion James deserves an honorable mention for the skillful villain he brought to life, but he adds little to the film. Technically, it fits into the broad spectrum of mid-budget sci-fi films from the 80s: we have decent enough cinematography and some creatively invented aliens, to which must be added some good special effects. The general appearance is old: it is a visually very dated film and the sets and costumes, although effective, are unable to appear realistic. The sound isn't bad, but the soundtrack doesn't do much for the overall work.
Stanley Putterman installs a state-of-the-art satellite dish in his backyard, soon unleashing a strange monster that leaps off the screen and needs to feed on humans for survival.
Mikael Blomkvist, publisher of Millennium magazine, has made his living exposing the crooked and corrupt practices of establishment Swedish figures. So when a young journalist approaches him with a meticulously researched thesis about sex trafficking in Sweden and those in high office who abuse underage girls, Blomkvist immediately throws himself into the investigation.
Filmed in the coal country of West Virginia, "Matewan" celebrates labor organizing in the context of a 1920s work stoppage. Union organizer, Joe Kenehan, a scab named "Few Clothes" Johnson and a sympathetic mayor and police chief heroically fight the power represented by a coal company and Matewan's vested interests so that justice and workers' rights need not take a back seat to squalid working conditions, exploitation and the bottom line.
After the entire flora goes extinct, ecologist Lowell maintains a greenhouse aboard a space station for the future with his android companions. However, he rebels after being ordered to destroy the greenhouse in favor of carrying cargo, a decision that puts him at odds with everyone but his mechanical companions.
Starship C57D travels to planet Altair 4 in search of the crew of spaceship "Bellerophon," a scientific expedition that has been missing for twenty years. They find themselves unwelcome by the expedition's lone survivor and warned of destruction by an invisible force if they don't turn back immediately.
Aliens have landed and are hiding on Earth, but need Earth’s scientists to help them fight an inter-planetary war.
After an encounter with UFOs, an electricity linesman feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.
In the year 10,191, the most precious substance in the universe is the spice Melange. The spice extends life. The spice expands consciousness. The spice is vital to space travel. The spice exists on only one planet in the entire universe, the vast desert planet Arrakis, also known as Dune. Its native inhabitants, the Fremen, have long held a prophecy that a man would come, a messiah who would lead them to true freedom.
Returning home from a shopping trip to a nearby town, bored suburban housewife Laura Jesson is thrown by happenstance into an acquaintance with virtuous doctor Alec Harvey. Their casual friendship soon develops during their weekly visits into something more emotionally fulfilling than either expected, and they must wrestle with the potential havoc their deepening relationship would have on their lives and the lives of those they love.
After the death of his mother, a young boy calls a radio station in an attempt to set his father up on a date. Talking about his father’s loneliness soon leads to a meeting with a young female journalist, who has flown to Seattle to write a story about the boy and his father.